Hear A New Kendrick Lamar/Vince Staples Song In The Latest Black Panther Trailer

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The new Marvel movie Black Panther is coming to theaters next month, and it’ll have a soundtrack that Kendrick Lamar co-produced with his TDE label boss Anthony “Top Dawg” Tiffith. We’ve already heard Kendrick’s SZA collab “All The Stars,” the first single from that soundtrack. And at the beginning of last night’s College Football … More »

Billie Eilish joins Vince Staples for fiery new single

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15-year-old singer-songwriter Billie Eilish released her debut EP, Don’t Smile at Me, in August. Vince Staples, meanwhile, released Big Fish Theory, which was largely regarded as one of the best electronic hip-hop albums of the year. Now, the two mavens have connected on a new track “&Burn,” an alternative version to the Eilish-led “Watch.” “&Burn” is a slowly stoked track, and while Staples’ vocals are fleeting, they linger into a quite combustible effect.

Eilish recently told The FADER that Staples was her first choice of collaborator and that she had originally come out of the studio with two different take ideas for the track.“This version felt like it would be perfect with someone as a feature,” she said. “Vince Staples was my NUMBER 1 choice, so when we got him to hear it and he agreed to do, it was incredible and the verse he did is so mf good! He is a god and I’m excited for it to finally come out!”

Read More:

Flume, Kendrick Lamar and Vince Staples join forces on the fiery ‘Yeah Right’

Watch Billie Eilish’s fiery new music video for ‘watch’

Billie Eilish releases new single ‘COPYCAT’

 

 

 

 

Top 30 Albums of 2017

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Gathering our favorite albums of the year is always such a challenge. 2017 was a year where our society may have taken a few steps backwards – exclusionary politics threatened personal freedoms and made some of us feel unwelcome within our own homes. It was 2017’s music – a combination of bright newcomers and longtime favorites – that kept us going forward. Moses Sumney made his eclectic debut with Aromanticism, a genre-defying collection of strummed guitars, twisting synth lines and buzzing harmonies. St. Vincent reworked her labyrinthine tendencies into chrome-clad future pop and Julien Baker exposed the darkest shadows of her psyche to give us all appreciation for every beam of light. Meanwhile, Kendrick Lamar and Bjork invited us into their unique and awe-inspiring worlds. 

And though this pursuit was a challenge, looking back on this year’s music has been quite therapeutic for us. The Wild Honey Pie has come together to list the albums that allowed us to escape to places where each one of us felt welcome and understood. There’s no theme to this year’s list, but our top albums do have one thing in common: in their own special way, each of these artists broke down boundaries to remind us that we are all more similar than we might think.

We’d like to invite you into some of these places, where we hope you’ll feel welcome, too. These are our favorite albums of 2017.

Playlist

30. (Sandy) Alex G – Rocket

29. Tyler, The Creator – Flower Boy

28. Jessie Ware – Glasshouse

27. Priests – Nothing Feels Natural

26. Jay Som – Everybody Works

25. Ryan Adams – Prisoner

24. Perfume Genius – No Shape

23. Slowdive – Slowdive

22. King Krule – The OOZ

21. Sylvan Esso – What Now

20. LCD Soundsystem – American Dream

19. Julie Byrne – Not Even Happiness

18. Vagabon – Infinite Worlds

17. Vince Staples – Big Fish Theory

16. Henry Jamison – The Wilds

 

15. Fleet Foxes – Crack-Up

14. HAIM – Something To Tell You

13. alt-J – Relaxer

12. SZA – Ctrl

11. Cigarettes After Sex – Cigarettes After Sex


10. Mount Eerie – A Crow Looked at Me


Phil Elverum of Mount Eerie recently lost his wife, fellow musician and comic-book artist Geneviève Castrée, to a heartbreaking battle with cancer. This concept album is dedicated to her, and does not shy away from painful details of their story. A Crow Looked at Me is not just about the way sickness and death infiltrate life, but it is an exploration of what it means to carry on. Elverum says, “there is an echo of Geneviève that still rings, a reminder of the love and infinity beneath all of this obliteration.” This album so beautifully captures that echo.

9. Overcoats – YOUNG

Young is a folk-pop testament to friendship, built from the tightly wound voices of Hana and JJ, and fortified in their dancy and electronic production. This album is about what happens when an unhealthy relationship slowly eats away at who you are. Hana and JJ show us that in friendship and harmony, we can find ourselves again and help to build each other back up. Watching these two grow has been an honor for us, whether they were performing in front of a campfire at our very own Welcome Campers or embracing each other on stage in front of a sold-out audience at Bowery Ballroom.

8. Kendrick Lamar – DAMN.

Kendrick Lamar’s DAMN. is a statement piece — an effort that not only showcases the rapper’s immense talent for spitting rhymes that tackle complex social issues, but one that also sets aside Lamar from his contemporaries as a brave voice never lacking honesty in its approach. DAMN. is as bombastic as lead single “HUMBLE.”, as tightly coiled and cutting in meaning as standout track “DNA.” and as expansive as its collaborations with Rihanna, Zacari and U2 might suggest. DAMN. is a much-needed, explosive force, as conspicuous and unabashed as the caps lock and requisite punctuation of its title.   

7. Julien Baker – Turn Out the Lights

This album by Julien Baker is a special one. Baker so candidly shares stories of addiction and what it means to be truly consumed in darkness. However, as she brings us into this place, she infuses it with beauty and grace, delivering so many chilling moments of release. She does not sugar-coat the repeated moments of pain and disappointment, but she does find hope within them, belting out her words so powerfully as if they themselves contain the source of the light (and maybe they do). This album has meant so much to us and I’m sure it has to so many others as well. 

6. St. Vincent – MASSEDUCTION

Prefaced by the gently ridged heartbreak and teetering chords of “New York,” St. Vincent’s fifth studio album served as a concentrated break into pop music. Masseduction is a rollercoaster filled with twists and turns that allow Annie Clark to extend her repertoire — slipping into the role of abandoned lover, disco queen, enabler – all without sacrificing her love for rougher edges. Behind the iron-clad pop hooks lies an album full of complex emotional and social machinery, where Clark can convincingly rouse adrenaline-driven love, or evaporate the shadow of a lover between the swelling of a string orchestra and her own breath.  

5. Lorde – Melodrama

If any moment captures the tender heartbreak behind Melodrama best, it’s the exact midpoint of the album, where, in the midst of the outro to the first part of “Hard Feelings/Loveless,” the song kicks back into one last verse. “Three years loved you every single day, it made me weak…Now I’ll fake it every single day ‘till I don’t need fantasy, ‘til I feel you leave,” Lorde sings, as memories of the rush of first love well up involuntarily. Melodrama is about accepting these pieces as they come back to you, even when doing so is so difficult. The album serves as a beautifully constructed, often pained reminder that even after momentous loss, you are still whole.

4. Bjork – Utopia

It’s no surprise that Bjork made this list, as her innovation has essentially changed music forever. But what does “utopia” sound like for Bjork? This is an album of love songs, a romantic journal containing flutes, choirs and birds that elevate us beyond the reality that we know. She sings of paradise after healing, giving and receiving love unabashedly. She feels lighter here, which is reflected in the airy instrumentals. Bjork sings, “loss of love, we all have suffered / how we make up for it defines who we, who we are” a realization that seems to be the centerpiece of Utopia.

3. Phoebe Bridgers – Stranger In The Alps

Phoebe Bridgers is one of our favorite new artists of the year. Every song on this album feels like a late-night conversation with a trusted friend. Bridgers drops us directly into her world, tackling feelings of unexplainable sadness, friendship and death. Bridgers has a true gift for finding the right words and remaining brutally honest, transforming the mundane into the alluring, making a “stack of mail and a tall can” sound so profound. This album contains echoes of intimacy and morbidity, reminiscent of her emo/folk predecessors Elliot Smith and tourmate/collaborator Conor Oberst. Ultimately, this is an album that we have found so soothing, so inescapably truthful and so reflective of the times. 

2. Moses Sumney – Aromanticism

This debut LP from Moses Sumney stretches wide across space and time. Sumney transcends genre in Aromanticism, weaving together ambient synths, acoustic guitars and soulful melodies. The songs on this album take on many different forms – some just a few sentences spoken above a horn section and some with no lyrics at all, just winding melodies cradled in Sumney’s silky voice. Contrary to many of the albums on this list, this one is not about love but rather the lack thereof. Sumney writes in pure poetry about the relationship to the body and its role in romance and identity. He turns the body to liquid and wings to plastic, disassembling it until it becomes clear that we cannot be defined by our bodies, nor can we be defined by our relationships or our past. Aromanticism may be showing us that we are not meant to be defined at all, but rather, we are just meant to be.

1. Big Thief – Capacity

We chose Capacity as our number 1 album of the year because it is the one we’ve had on repeat since it came out, and it has personally meant the most to us this year. Big Thief continues to amaze us, whether it is the tactful and imagistic storytelling of Adrianne Lenker or the pure magic they create on stage, this band is truly hypnotizing, and Capacity is an excellent portrait of their strengths. I remember the first time I heard the lyrics “there are no enemies / we’re make-believing everything” from the title track. Capacity is a storybook containing several of these wisdom-filled moments. This record is imaginative, emotional and timeless, and we hold it very close to our hearts here at The Wild Honey Pie.

What does Rolling Stone’s top 20 EDM album list say about the genre?

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Is Rolling Stone’s 20 Best EDM and Electronic albums of 2017 an ill considered attempt to showcase obscurity for obscurity’s sake or an apt proclamation concerning the current status of electronic music?

The list at hand has sparked collective controversy among the EDM community due to its off-kilter inclusion of some of electronic music’s most remote auteurs — and an apparent exclusion of some of the mainstream’s most prominent producers.

While some feel the list misses out on some of 2017’s key artists, the analysis begs relevant questions regarding the dissemination of electronic music over the past few years, as well as the increasingly ambiguous boundaries between genres.  After all, what exactly defines “EDM” in the first place?

Rolling Stone’s exclusion of any major EDM pop stars — read: The Chainsmokers, Odesza, Galantis — marks a prodigious shift from their inclusion of electronic pop music in years past via Flume & Kygo in 2016 and Disclosure & Jack Ü in 2015. In fact, the closest 2017’s list came to showcasing pop music was through UK grime superstar Stormzy and Long Beach’s own Vince Staples on their respective albums Gang Signs & Prayer and Big Fish Theory, neither of which can accurately be described as pop.

Furthermore, while both Stormzy and Vince Staples utilize electronic elements in their tracks, is it accurate to classify these albums as EDM or even “electronic?”

Have the constructs of electronic music completely collapsed, or has the umbrella-esque genre simply become defined by the technicalities of digital production? The inclusion of “niche” artists could be a way of acknowledging EDM’s infiltration into contemporary pop and the jarring effects that move has had on the way that listeners contextualize electronic music as a whole.

One could go so far as to gesture that EDM and electronic music are entirely distinct entities. While everyone knows EDM is technically defined as “Electronic Dance Music” the genre is applied liberally and without any real distinction.

Though it would be easy to get upset at perceived “snubs” for the mainstream or even mid-range artists operating in the EDM-relative space, Rolling Stone’s decision to include albums within any and every degree of electronic music’s diverse range of styles is a testament to the genre’s versatility, and, perhaps its saving grace: its ambiguity.

EDM is more fluid than most would care to believe, and for many, contextualization of the genre depends entirely on their own experience with it.

The exclusion of such massive albums as Chainsmoker’s Memories…Do Not Open and Galantis’ The Aviary can’t be an accident. While it throws the article’s titling into question, the logic is solid.  For starters, the former failed to garner support from even the most devout EDM enthusiasts. Barring the exception of an outstanding album in Calvin Harris’ Funk Wav Bounces Vol. 1, Rolling Stone’s decision to prohibit EDM pop stars from its list seems entirely justified considering the apparent lack of authenticity among EDM pop in 2017.

Though Harris’ record is an obvious standout, it seems that the efforts of most major artists in this space are becomingly increasingly uninspired. Once a genre that challenged notions of what electronic music can be, popular EDM now seems devoid of any risk takers among its mainstream sect. So goes for any of its notable sub-genres that have been beaten beyond death—future house, we’re looking at you.

While Rolling Stone may have benefited from including the more innovative album releases this year from artists like Emancipator, Floating Points, Barclay Crenshaw, Amelie LensJamie Jones, Kelela, Perc, or Yaeji to name a few, the coveted spots are not infinite, and their current standings do help shed a stark light on EDM’s lack of audacity over the last year.

As the genre bubbles into mainstream consciousness, it has yet to exit its immature, money-grabbing mindset, rewarding chintzy efforts to gain streams while forsaking the same genre-bending behavior that has consistently defined electronic music. After all, if it’s not easy to define, it can’t easily fit on Billboard charts.

EDM, as a genre, is nearly impossible to characterize formally and the music that comprises any of electronic music’s myriad sub-genres can reflect a multitude of various styles and sects in just one track: after all, the inherent genius in electronic music lies both in its malleability and its unique ability to evade easy definition.

Some may deem such rankings as unnecessarily obscure but, despite missing out on a few key albums, Rolling Stone’s Top 20 EDM List stands as a relevant statement about the genres current state.

 

Billie Eilish – “&Burn” (Feat. Vince Staples)

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Los Angeles singer-songwriter Billie Eilish put out her debut EP Don’t Smile At Me in August, and today she released a new song, “&Burn,” featuring Vince Staples, who put out one of the best albums of 2017. Eilish told The FADER that Staples was her No. 1 … More »

The 40 Best Rap Albums Of 2017

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Streaming changed things. 2017 was the year that rap once again reaffirmed its stranglehold on the collective imagination of America’s youth. Like the moment when Billboard first started using Soundscan and inadvertently proved the massive popularity of N.W.A, the streaming services of the world showed just how powerful this music remains. Rap dominated streaming charts. More »

New Vince Staples Music Featured In Spider-Man: Into The Spider-Verse Trailer

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Vince Staples is no stranger to the Marvel universe — “BagBak” is featured in the latest Black Panther trailer — and an unreleased song of his has popped up in the new teaser trailer for Spider-Man: Into The Spider-Verse, an animated movie focusing on Miles Morales’ Spider-Man origin story that will be released … More »

Vince Staples Reviews 2017: On Fyre Fest, Fidget Spinners, Rick And Morty, & More

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In a series of interviews, we’re asking some of the artists behind 2017’s best albums to reflect on the year that was. Yesterday was Perfume Genius’ turn. Here’s the latest… More »

Tyler, The Creator takes his recent emotional outpourings on the road, creates North American tour with Vince Staples

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Tyler, The Creator’s latest album Flower Boy (or Scum Fuck Flower Boy) has been deemed by numerous critical outlets (including this one) as a watershed in the maturation of the 26-year old rapper, who’s otherwise received tons of arguably justified flack for lyrics that flirt (at the very least) with the line demarcating creative expression and outright homophobia and misogyny. The album’s production and musical cohesiveness have been objectively improved from his prior work, and Flower Boy is packed with introspection and a fragility previously unimaginable. Thank you for finally letting us in, Tyler! Thank you!

Hmm. Maybe he’ll soon be able to say the same to the countries that not-so-quietly saw it fit to prevent his entry?

Well…until that time comes (or doesn’t), fans local to the United States will be able to enjoy (or decry) an upcoming winter tour that’s set to begin at the end of January 2018. Support notably comes from Vince Staples and Taco throughout the tour, which naturally skews toward the major cities.

You know the drill: peep some memory-jogging clips in order to solidify and/or reevaluate your recent stance on the guy, then see if you can picture yourself in attendance at one of the dates below.

Tyler, The Creator, Vince Staples, & Taco:

01.26.18 – Vancouver, BC – PNE Forum
01.27.18 – Portland, OR – Memorial Coliseum
01.29.18 – San Francisco, CA – The Armory
01.31.18 – Sacramento, CA – Memorial Auditorium
02.02.18 – San Diego, CA – Valley View Casino Center
02.03.18 – Tempe, AZ – Marquee Theatre
02.06.18 – Denver, CO – 1stBank Center
02.07.18 – Kansas City, MO – Arvest Bank Theatre
02.08.18 – Dallas, TX – Bomb Factory
02.10.18 – Atlanta, GA – World Congress Center
02.12.18 – Miami, FL – James L. Knight Center
02.13.18 – Orlando, FL – Orlando Amphitheatre
02.15.18 – Philly, PA – Liacouras Center
02.17.18 – Toronto, ON – Ricoh Coliseum
02.18.18 – Montreal, QC – MTELUS
02.20.18 – Pittsburgh, PA – Stage AE
02.21.18 – Rochester, NY – Main Street Armory
02.23.18 – New York, NY – The Theater at MSG
02.25.18 – Washington D.C. – The Anthem
02.27.18 – Detroit, MI – Masonic Temple Theatre
03.01.18 – Madison, WI – Alliant Energy Center
03.02.18 – Chicago, IL – Aragon Ballroom
03.04.18 – Milwaukee, WI – Eagles Ballroom

Hear Vince Staples Freestyle Over YBN Nahmir’s “Rubbin Off The Paint”

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Vince Staples had a big day on Twitter on Saturday. It started with a since-deleted tweet that Eminem’s anti-Trump freestyle at the BET Hip-Hop Awards was “trash.” All day long, Staples insisted that he likes Eminem but that he expects more from him. And since he’s Vince Staples, he was funny as hell when … More »