#New Dancehall Instrumentals

[denastic]

XCALI BEATZ THE NEW ONLINE RIDDIM STORE. "THE GRAND OPENING"

XCALI MUSIC'S XCALI BEATZ STORE GRAND OPENING "FRIDAY NITE" March 23, 2023- You dont want to miss the Hottest 2023 Dancehall Beatz from XCALI MUSIC. CALLING ALL ARTIST- C.E.O

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#apparel #clothing #dancehall reggae #Instrumentals #Music #New Dancehall Instrumentals #Reggae Music #sexy #short sleeve #style #t-shirt #Trending #xcali music

[youngmogulbeatz]

#afro beats #beats #beatstars #dancehall #beatsforsale #music #musicproducer #musician #new artist #new music #instrumental #youtube

[motion90affect]

"Shocking The System" | Electronica | Industrial Bass | EBM | Cyberpunk

#youtube #new music #music #beats #instrumentals #electronica #EBM #industrial ebm #ebm music #industrial bass #electronic #digital #cyberpunk #phonktrap #phonk music #house phonk #synth pop #dancehall #design #graphic design #cover art #visual #visual stim #dope beats #fire beats #dance music #dance #exotic bass house #techno #synthwave

[evilthotiana]

I hate Abstract Hip Hop African Music Afrobeats Alt-Country Alté Alternative Dance Alternative R&B Alternative Rock Alt-Pop Ambient Ambient Dub Ambient Pop Ambient Techno Americana Art Pop Art Punk Art Rock Avant-Garde Jazz Ballroom Baltimore Club Bedroom Pop Blues Boom Bap Brazilian Music Breakbeat Breakbeat Hardcore Bubblegum Bass Caribbean Music Central African Music Chamber Folk Chamber Pop Chicago Drill Chillout Chillwave Classical Music Cloud Rap Conscious Hip Hop Contemporary Folk Contemporary R&B Country Country Soul Dance Dancehall Dance-Pop Deconstructed Club Deep House Detroit Techno Disco Downtempo Dream Pop Drill Drill and Bass Drone Drum and Bass Drumless Dubstep Dub Techno East Coast Club East Coast Hip Hop Electro Electroacoustic Electronic Electronic Dance Music Electropop Emo Emo Rap Experimental Experimental Hip Hop Experimental Rock Film Soundtrack Folk Folk Rock Footwork French Hip Hop Funk Funk brasileiro Funk Rock Future Garage Gangsta Rap Garage Punk Garage Rock Ghetto House Ghettotech Glitch Glitch Hop Glitch Pop Grime Hard Bop Hardcore [EDM] Hardcore Hip Hop Hardcore [Punk] Hardcore Punk Hip Hop Hip Hop Soul Hip House Hispanic American Music Hispanic Music Horrorcore House Hyperpop Hypnagogic Pop IDM Indie Folk Indie Pop Indie Rock Indietronica Industrial Industrial & Noise Industrial Hip Hop Industrial Techno Instrumental Hip Hop Jamaican Music Jangle Pop Jazz Jazz-Funk Jazz Fusion Jazz Rap Juke Jungle Krautrock Math Pop Math Rock Memphis Rap Microhouse Midwest Emo Minimal Synth Minimal Techno Minimal Wave Modern Classical MPB Neo-Psychedelia Neo-Soul New Wave Noise Pop Noise Rock Northern American Music Nu Jazz Outsider House Plugg PluggnB Plunderphonics Political Hip Hop Pop Pop Rap Pop Rock Pop Soul Post-Bop Post-Hardcore Post-Industrial Post-Punk Post-Punk Revival Post-Rock Power Pop Progressive Breaks Progressive Electronic Progressive Pop Psychedelia Psychedelic Folk Psychedelic Pop Psychedelic Rock Psychedelic Soul Punk Punk Rock R&B Reggae Regional Music Rock Shoegaze Singer-Songwriter Slacker Rock Slowcore Smooth Soul Sophisti-Pop Soul Soul Jazz Sound Collage Soundtrack South American Music Southern African Music Southern Hip Hop Southern Soul Spiritual Jazz Spoken Word Synth Funk Synthpop Tech House Techno Traditional Folk Music Trap Trap Soul Trip Hop UK Bass UK Funky UK Garage UK Hip Hop West African Music West Coast Hip Hop Western Classical Music Wonky

[atzupdates]

[231119] ATEEZ released a preview of the 2nd full album track list.. Legendary album preview

On the 19th, ATEEZ released a preview video of the track list of its second full-length album "THE WORLD EP. FIN: WILL" on its official YouTube channel. The released tracklist preview drew attention as it was able to briefly show the instrumental of the 12 songs in the album. First, the title song, "Crazy Form," is a dancehall genre song based on Afrobeat rhythm, and will open the next chapter of their music, showing a new style of music that ATEEZ will present while showing a different feeling of excitement. In addition to the title song "Crazy Form," the album includes "WE KNOW," which says the answer is all in the heart, "Emergency," which expresses the strong presence of ATEEZ, "ARRIBA," an exotic sound, "Silver Light," which has an impressive dreamy synth sound, and "Crescent Part.2," which connects one dimension to another. In addition, there are a total of 12 songs, including "Dreamy Day" that says one doesn't want to break each dreamy day, "MATZ," which contains explosive chemistry between Hongjoong and Seonghwa, "IT's You," which expresses the fascinating emotions of the three members of Yeosang, San and Wooyoung, "Youth," in which Mingi and Yunho led the lyrics and composition, "Everything," which delicately depicts Jongho's mournful feelings, and finally "Final: WILL". Previously, ATEEZ released an impressive track list of 12 moon-shapes that gradually rose over time, proving their extraordinary musical capabilities with all members named in the credits. As such, ATEEZ, who have made the group's color clearer, predicted that they would reach the public with a variety of genres of music and upgraded skills.

#ateez #type: article #type: comeback #era: the world ep fin : will #do not copy without credit / translation by atzupdates

[7grandmel]

Todays rip: 17/04/2024

Psy's End Stylehall

Season 6 Featured on: Transmission Archive ~ The SiIvaGunner All-Star Nuclear Winter Festival Collection

Ripped by Eva Twin

Alright, so, sure, it wasn't very long ago that I covered a PSY rip, with The World Ends With PSY. But part of why I wanted to highlight that rip in particular other than to talk about The World Ends With You, was to showcase a rip that used PSY's music in an abnormal way for rips, using it in a way we don't really see much of nowadays. That isn't because The World Ends With PSY held some secret ingredient that no rip since has been able to capture, no no, quite the opposite - its because the style of PSY rips we've gotten for a majority of the channel's life, the ones like One Winged PSYcho - V​.​S. Sepsyrop, like Korean Idiot, and indeed like Psy's End Stylehall, are fucking bangers. PSY is at this point more than just an artist whose music can be made into fun mashups - PSY's vocals are an instrument in of themselves.

And like, I really, truly don't know enough about vocaloid or vocaloid music. I enjoy a Lagtrain from time to time, I love rips like Rolling Start and Willievan Afton Polkka, but its still a niche that's a fair bit out of my wheelhouse. Yet its these kinds of rips that all highlight, to a peasant like me, just what makes the scene tick - the sheer energy in a song like World's End Dancehall feels like the kind of thing you'd ONLY hear through the vocaloid scene. Yet in a way, it doesn't surprise me that I find the music so inherently appealing - it feels as if there's a fair bit of overlap in enjoyment between the art of high quality rips and the art of creating vocaloid music. Both fields are, in many cases, using something not meant to be an instrument, a noise turned music through pitch-shifting and other techniques, be that noise the voicebanks of a digital songstress, or the AHHs and EYYS of a South Korean pop artist. Hatsune Miku is everywhere, she is an instrument for artists to use more than she herself is an artist - yet all of the music featuring her vocals sounds so incredibly distinct from one another. Much the same, again, can be said for PSY.

Like, you'd think one would get tired of the guy after eight years of the same bit, after having annual PSY days where we get nothing BUT rips of the same PSY samples and sounds and bits. Yet each rip manages to sound different from the last, each rip able to find so much creativity in using the guy's vocal samples to ridiculous effect - and no matter how many years pass, Gangnam Style itself still bangs!! The amount of cool shit Psy's End Stylehall in particular does is just too much to list - the slight stuttering on the "Ga-Gangnam Style!!"'s in the song's intro, the constant yet unintrusive presence of Gangnam Style's backing instrumentation, the ways that PSY's vocals are used for both the backing AND the lead melody?? It's nutty, especially in music as chaotic in pace as that of wowaka's (who was also the artist behind Rolling Girl, paid tribute to in Rolling Start mentioned earlier). PSY rips didn't take long to be elevated above just standard mashup material on SiIva, and as late into the channel as Season 6, rippers like Eva Twin were still finding novel ways to use the man's voice.

Like, the way Gangnam Style's first verse vocals play in full at a pretty standard pace, only to suddenly be as if whisked away by World's End Dancehall picking up the pace at 0:49, raising the pitch in PSY's vocals, repeating a segment of the chorus over and over...or the way the chorus has PSY sing alongside his own "ops" repeating as a new form of percussion, on top of Gangnam Style's own instrumentation, on TOP of a layer of "Eyys" in the background - this is the kind of rip that I would just ADORE to see the inner workings of, just how many layers it must've taken to make such a full sound. And like, I've covered Eva Twin on here a good number of times, I still love I'll Face Gay Bowser to death, but Psy's End Stylehall is the kind of rip that leaves me outright amazed at how layered it all sounds. I need no attachment to vocaloid to know good music - and no amount of overexposure to PSY can make his rips any worse. Unfamiliarity and overfamiliarity meet in the middle for a rip I could almost recommend to anyone, a show of SiIvaGunner's sheer quality as of its most recent seasons, and a demonstration of just how deeply its team members care about music of all shapes and sounds.

#todays siivagunner #season 6 #siivagunner #siiva #Eva Twin #Youtube #Bandcamp #vocaloid #vocaloid music #hatsune miku #miku hatsune #vocaloid miku #miku #project diva #vocal synth #project sekai #prsk #wowaka #worlds end dancehall #vocaloid cover #psy #gangnam style

[justforbooks]

Over the course of a long career, the American singer Marlena Shaw moved from jazz to soul and back again, searching for settings that would best enhance her fine voice. In later decades she commanded the allegiance of the British fans of the rare-groove movement, who rediscovered and particularly cherished her version, released in 1969, of a much recorded song called California Soul.

Shaw, who has died aged 81, made her first stage appearance at the Apollo theatre in Harlem, New York, when she was 10 years old. Billie Holiday was still alive and Ella Fitzgerald, Sarah Vaughan and Dinah Washington were other inescapable influences on a jazz-inclined teenage singer seemingly destined to work with big bands in dancehalls and smaller groups in nightclubs. In her later years she became familiar with the sound of hip-hop artists basing their hits on samples from her singles and album tracks.

Shaw’s recording of California Soul, a song written by Valerie Simpson and Nickolas Ashford, popped up in Gang Starr’s Check the Technique and Stereo MCs’ Sofisticated. It was also used in American TV commercials for Dockers shoes, KFC fast food and Dodge trucks, and in 2022 it was awarded an official gold record by the British Phonographic Industry.

Born Marlina Burgess in New Rochelle, New York, she showed musical talent from an early age and was given her first opportunity to take the stage in 1952 by her uncle, Jimmy Burgess, a trumpeter and bandleader who was performing at the Apollo. It was through his tuition that she acquired her understanding of jazz phrasing, while her mother encouraged her to study music at New York State Teachers’ College in Potsdam, a small town close to the Canadian border.

But she failed to complete the course, marrying young and bringing up five children before picking up the threads of a performing career that had barely begun. There were more false starts. In 1963 she missed an appearance at the Newport jazz festival with the trumpeter Howard McGhee after an argument with the musicians, and an attack of nerves ruined an audition with the great talent scout John Hammond, who had signed Holiday and Bob Dylan, among many others.

But in 1966, while singing at the Playboy Club in Chicago, she was signed up by the locally based Chess label, the home of many popular soul and R&B performers. Her first single was a vocal version of Joe Zawinul’s gospel-style tune Mercy Mercy Mercy, which had been an instrumental hit for Cannonball Adderley.

In 1968 Shaw toured Europe with Count Basie’s orchestra, involving the bandleader in an amusing routine as she improvised new words to Won’t You Come Home, Bill Bailey? It was while appearing with Basie at the Sands hotel in Las Vegas that she decided to make the gambling capital her home, moving there in 1970.

A contract with the Blue Note label led to a series of albums in a smooth soul-jazz style, including one recorded live at the Montreux jazz festival. The title and content of another album, Who Is This Bitch, Anyway?, indicated a desire to challenge the then-current popularity of the sexually explicit singer Millie Jackson.

A move to the Columbia label in 1977 saw her transforming Carole King and Gerry Goffin’s Go Away Little Girl, originally recorded by Bobby Vee, from a lovelorn ballad into a statement of female independence introduced by a lengthy rap directed at a feckless, workshy lover: “I figure if I’ve got to get up and go to work every day, then every able-bodied in the household is supposed to get up and go … If for some reason you feel that you can no longer be the man you were at the beginning of our relationship, then I’ve got this one thing to lay on you, my sweet. Go away, little boy …” But eventually the attitude softens, and after a seduction scene the song fades out on a note of surrender: “You think you can get a job by Thursday? You promise? Then you might as well stay … Don’t go away … ”

It became one of her most popular songs in live performance, the prefatory rap acquiring extra twists, turns, and layers of sardonic saltiness. At the New Morning club in Paris in 2010, the man in the song had become someone who had picked her up at an airport giftshop, its final scene acted out with elaborately dramatised hand gestures, smiles, laughter and a winning command of her audience.

An elegant presence on the concert stage, she sang with a symphony orchestra in New Zealand and toured for four years with Sammy Davis Jr. There were further recordings for the Verve, Concord and South Bay labels, and in 1989 a duet with Joe Williams, another former Basie singer, on an update of the old Louis Jordan song Is You Is Or Is You Ain’t My Baby earned her a Grammy nomination.

Shaw ceased all professional activity in 2016, retiring to her home in Las Vegas. Her survivors include her daughters April and Marla, a son, Robert, and several grandchildren and great-grandchildren.

🔔 Marlena Shaw (Marlina Burgess), singer, born 22 September 1942; died 19 January 2024

Daily inspiration. Discover more photos at Just for Books…?

#just for books #marlena shaw #in memoriam

[merps]

god i'm watching a video going over a song per month (8 sec worth) since Miku's inception in 2007, and just. as soon as it entered 2009 I got hit with memories of being present when songs released, like I remember Romeo and Cinderella releasing and loving it so so much, or when 1/6th got released how it didn't have that big popularity at first, or when two breaths walking or 2-faced lovers came out 😭 (or how i got into deco*27 and bought Decoustic on iTunes)

i was second guessing myself until the original clock lock works video was shown, and god how i was so so excited telling a friend at the time about a new hachi song, or like world's end dancehall also sharing with another friend so much excitement, or loving how cosmoP used all the Miku Append voicebanks...... now seeing hello/how are you, around that time I got an iPod Nano and excitedly loaded it on, and that's when I learned about ripping to mp3 and began having such a well organized itunes library w/ metadata

it's been 14 years............... how miku's voice in the hands of so many, shaping her in so many unique ways, their voices through her, all these various parts of my life, when people ask she's not my fave in terms of voice preference, but as a concept, well... how would you describe a concept that's been such a core part of your life, vocaloid is an instrument but Miku as a whole encompass such a movement (or multiple), or how such a funny coincidence that a good mutual riningear and we bonded over vocaloid and then also end up already being a student at my first college.

all of this because I hit enter too early when trying to search Shugo Chara's first OP on youtube "Kokoro no Tamago" 😭 maybe I would've found it eventually, but god I can't imagine even that possibility of when or where. I'm so excited at the thought of new people stumbling upon it, I hope they have a good time too,

and funny enough Kokoro is about a robot experiencing what it's like to have a "heart" for the first time, and later that year of finding it, I came upon the book how to say goodbye in robot, and just how hard both of them resonating me, someone who felt v much like a robot unable to understand others fully ah yes the undiagnosed autism

but yeah just seeing songs and recalling how hard they made me cry, how felt hehe/devious/mischievous, that made me so full of joy, so full of hope, songs i perfected in project diva, ones that were just huge jams...

#tried to link to official youtube (not niconico) uploads and/or eng sub vers esp versions ik i watched #merples #Youtube

[mywifeleftme]

320: V/A // Tommy Boy's Greatest Beats Volume 1

Tommy Boy's Greatest Beats Volume 1 Various Artists 1998, Tommy Boy

The Tommy Boy catalogue has been endlessly repackaged over the years, but if you’re looking to score some of the classics on wax you could do worse than this late ‘90s double LP compilation. Tommy Boy had commemorated its first 15 years with a 2xCD/4xLP box set of the label’s “Greatest Beats,” but for the more cost-conscious consumer also broke the vinyl set out into individual volumes. Volume 1 sadly (sadly!) does not include anything by Coolio or House of Pain, for which you would have to splash out for Volume 2, but what is here’s pretty good: both Bambaataa’s “Planet Rock” and “Renegades of Funk” (the latter in its full 12” glory); the 12” mix of De La Soul’s debut “Plug Tunin’ (Are You Ready for This”); early electro gem “Play at Your Own Risk” by Planet Patrol (likewise in 12” format); Stetsasonic, Naughty by Nature, Digital Underground and more.

The selection admittedly feels a bit random without the accompanying Volume 2 (we get K7’s minor New Jack-dancehall hit “Move it Like This” rather than his smash “Come Baby Come” for example), and it’d be hard to argue fun but forgettable cuts like Choice MC’s instrumental b-side “Gordy’s Groove” or Bambaataa and James Brown collab “Unity” belong on a “hits” comp for a label of Tommy Boy’s magnitude. Not all of the actual hits are winners either—Club Nouveau’s Grammy-winning Kidz Bop version of Bill Withers’ “Lean on Me” has aged like a Kidz Bop reunion tour. On balance though, the set does a good job of representing the label’s hip-hop, dance, electro, and R&B sides, delivering some of the most influential Black music of the past forty years, a heap of ‘80s and ‘90s nostalgia, and some sure-shot party fuel. Drop the needle and hit the floor.

320/365

#tommy boy #afrika bambaataa #de la soul #digital underground #naughty by nature #club nouveau #james brown #hip hop #rap #'80s rap #'80s hip hop #'80s music #'90s music #r&b #dance music #electro #music review #vinyl record

[chorusfm]

Broadside – Hotel Bleu

Usually when you check into a new hotel, it has a funny way of changing your outlook and mindset for the days to come. Whether it’s settling down in a hotel for a vacation, work trip, or just a weekend getaway, these places tend to have their own unique personality attached to them. Broadside have this concept well on the top of their mind on their fourth full-length record, called Hotel Bleu. The interesting thing about this album is that it finds Broadside tinkering with their sound and exploring the depths of their songwriting. While their last effort, Into The Raging Sea, took listeners on a journey through the darkest of thoughts, Hotel Bleu may just be the polar opposite. The latest LP by Broadside (Oliver Baxxter [vocals], Domenic Reid [guitar], and Patrick Diaz [bass]) is vibrant, lush, and as colorful as the name implies. The album starts off with one of the most interesting songs on the record, with the synth-laden “Stranger” that features a frenetic beat and steady riffing from Reid before exploding into an emotive chorus by Baxxter. What Broadside do really well on songs like this is to channel their love for big pop hooks and alternative rock guitar parts into a satisfying blend of styles. “Dazed & Confused” follows the frenetic opener with a mid-tempo blend of acoustic guitar (in the opening refrain) that bleeds away quickly into a stomping, guitar-driven attack that reminded a bit of Set It Off’s Midnight style. The instrumental breakdown in this track features a wailing, keyboard-laced solo to expand upon the creative ideas put forth by the band. One of my favorites in the front half of Hotel Bleu comes in the form of “Don’t Lose Faith” that rocks like a George Michael pop song on steroids. Baxxter’s vocals are as captivating as they’ve ever been on this heavenly song that hits all the right notes. “Cruel” features a guest spot by Brian Butcher (The Home Team), and starts off with brooding synths in the opening that fade away for a great guitar groove, much like The Maine did so well on their last two albums. “Bang” rocks along with a steady tempo in the verses and features a stellar hook in the chorus of, “Bang, bang, bang the reaper is at my door / And I don’t wanna run anymore.” The atmospheric vibes of “How To Love, How To Lie” is top-notch guitar pop, and features a nice, pulsating bass line from Diaz to keep interest high. The back half opens with “Lucid,” that features a collaboration with Devin Papadol (Honey Revenge) and continues to explore the magic that happens when Baxxter and his bandmates trust their creative instincts. This dynamic sound on songs like this gets even better as Papadol gets to shine on her own verse in the track, before her and Baxxter harmonize on the chorus. “Feel Love” brings forth the dancehall vibes and rocks like The 1975 paired with the disco dance-pop of Dua Lipa. “One Last Time” was the first song to be released from the set, and it ends up fitting well in the sequencing of the record. More reflective songs like “What Have I Done?” finds Baxxter reminiscing through his life over heavy synths and pounding drums, before launching into a lush chorus. The tender closer of “Bleu” is a nice way of wrapping up this era of Broadside with further self-reflection from Baxxter while Reid’s acoustic guitar shines over the mix. The dreamy ballad is meant for the lighters (or cell phones) moment at one of Broadside’s concerts that get better with age, much like the band has showed their growth on Hotel Bleu. Checking out of this hotel opens a floodgate of great memories, good vibes, and stellar songwriting. --- Please consider becoming a member so we can keep bringing you stories like this one. ◎ https://chorus.fm/reviews/broadside-hotel-bleu/

[denastic]

Xcali Music - Introducing The NEW XCALI BEATZ STORE - NOW OPEN. HOT DANCEHALL BEATS NOW AVAILABLE

New Xcali Beatz Store. more info Xcalijammusic.com

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#2023 Reggae Dancehall Instrumentals #Beats Store #Club Music #Instrumentals #Music #new #Riddims #sexy #style #Trending #Xcali Beatz #xcali music

[yegormirnov]

Travis Scott’s “UTOPIA” or How You Can Justify the 5 Years for an Album

On the 28th of July, the long-awaited album “UTOPIA” by Houston rapper Travis Scott was released to a global audience. After the commercial success of his 3rd album, “ASTROWORLD,” the bar was set extraordinarily high. This album's hype permeated globally, featuring mysterious briefcases, an Egypt performance (unfortunately canceled), and mastering from Mike Dean. It seemed as if the album was Travis’s version of "Graduation" or "MBDTF," so the question is:

Did the protege manage to succeed?

“UTOPIA” is weird, absurd, creepy, and fantastic. Those four words were the first that came to my mind after listening to the whole thing. In comparison, “ASTROWORLD” was akin to a rollercoaster or entertainment park, offering an experience of entertainment and amusement, which clearly played it much safer than “UTOPIA”.

“ASTRO” was colorful, but not as motley and vibrant as “UTOPIA”. It had risks, but wasn’t as edgy or even half as bold as the latter. Travis’s goal with “UTOPIA” is to engage you in his album atmosphere once more, achieved here by the effect of shock and amazement.

Explosive instrumentals and angelic outros are fundamental in every Travis Scott album, but the variety of soundscapes represented flawlessly in this LP is tremendous. The album is replete with hip-hop beats in disguise, allowing Travis to flow wherever and however he wills. Most of his rap performance is rough and raw, reminiscent of his older “Owl Pharaoh”/ “Days before Rodeo” style evident in “Hyaena”, “God’s Country”, “Skitzo”.

On his 4th LP, Travis ventures into unknown directions. An instance is “K-Pop,” dancehall-inspired music with elements of Latin involvement. “Modern Jam” is another example indicating his new direction. The boom-bap “Beyonce’s Renaissance” house music dominates this project, illustrating the multifunctionality of Travis’s style. The album showcases peak Travis psychedelic beats and performances, entrancing listeners in this natural, spatial feeling of oddness.

Features:

One issue I had with “ASTROWORLD” was that the feature list mostly outshined Travis, leaving little space for him on the song. However, here Travis immerses you by himself, making it the standout of this project for me.

On “UTOPIA,” invited artists deliver some of their best verses with amazing execution. Each artist sounds seraphic and vibrant, finding their niche and contributing to the complete experience. For example, in “FE!N,” Playboi Carti reveals a more mature, rough, and revolutionary style, an incredible opportunity to showcase his new era on such a long-awaited release.

Additionally, Travis introduces newcomers and upcoming talents. “UTOPIA” introduces Teezo Touchdown on “Modern Jam” and KayCyy on “Thank God”. Both were phenomenal; Teezo’s voice, initially found annoying and disturbing, showcased its subtleties and proper implementation on “Modern Jam.”

Even minor elements, such as Sampha’s feature on ‘My Eyes,’ Young Thug’s verse on ‘Skitzo,’ and immersive vocals from SZA and The Weeknd, display the well-mastered nature of this project.

Artistically, “UTOPIA” represents Travis finally merging both alter egos (Scott and $cott) and utilizing them marvelously throughout the album.

Let’s explore his $cott side. He reverts to the rawness, hunger, and desire seen in older projects, illustrating this rage and hunger on “UTOPIA.” He flawlessly portrays his trap image, ready to stay.

Regarding his Scott ego, it delves into the transparency of emotions, offering immersive and complex structures. Here, Travis reaches new heights, potentially patenting this sound and his psycho/bizarre influence in the future.

Now, for the cons of the album, which though minor, are present.

The inconsistency and duration of the album are significant concerns. While most tracks feature amazing progressions impossible to imitate or repeat, their length with complex constructions can cause boredom and distraction for the regular listener.

Favorite Tracks:I Know?, Modern Jam, Hyaena

Least Favorite Track:K-Pop

In conclusion,

“UTOPIA” is many things - Travis Scott’s version of Yeezus, reminiscent of the past, or simply a unique, dark, immersive experience. For me, “UTOPIA” is a loose concept, seen from individual perspectives. It's not just a place or an album. It's emotions that emerge, creating the feeling of UTOPIA within you.

#album review #hip-hop #rap #music

[emmanuel-katto-uganda-blogs]

I Emmanuel Katto shares Uganda's Thriving Music and Dance Scene: From Traditional to Contemporary

Uganda, a country in the center of East Africa, is home to many different cultures and traditions. The music and dance scene there is one of the liveliest examples of this diversity. Uganda's music and dance culture is an enthralling voyage through time and tradition, as a Uganda’s native and journalist I, Emmanuel Katto always enjoyed the indigenous rhythms resonating through the hills and the throbbing beats of modern Afro-pop.

Celebrating Tradition: The Musical and Dance Traditions of Uganda

Uganda is home to a wide variety of ethnic groups, all of whom have a strong cultural connection to the country's traditional music and dance. Many groups, such the Baganda, Bakiga, Banyankole, and others, have distinctive musical traditions that are frequently accompanied by dance displays that depict their culture's history, heritage, and daily life.

The rhythmic foundation of these performances is provided by traditional instruments like the adungu, engalabi, and ndingidi. Musicians and dancers dress colorfully to express their pride in their culture. As a result of the colorful energy of these performances, Uganda's cultural festivals attract tourists from all over the world.

The Development of Modern Ugandan Music

Uganda's current music sector is creating waves both locally and globally, in my opinion as a journalist, I Emmanuel Katto aka Emka Uganda would like to say that even if traditional music is still a treasured component of the nation's cultural heritage. Ugandan musicians have perfected the blending of traditional music with contemporary rhythms, resulting in a distinctive and contagious musical style that crosses national boundaries.

Afrobeat, dancehall, and reggae are three genres that are hugely popular in Uganda's modern music industry. Not only in Uganda but also throughout Africa and beyond, musicians like Eddy Kenzo, Sheebah, and Bobi Wine have become household names. In a world that is changing quickly, their music frequently addresses societal concerns through narrating tales of tenacity, love, and hope.

The Dance Revolution

An essential component of Ugandan music culture, the Dance Revolution Dance has seen substantial development in the modern music scene. Ugandan dancers are pushing the limits of creativity and expression with everything from traditional dances like the Bakisimba and Ekitaguriro to contemporary dancehall and hip-hop routines.

Dance competitions and showcases have grown in popularity, giving budding dancers a place to present their talents. Traditional and modern dance styles have been combined to create a distinctive kind of dance that enthralls audiences with its vitality and inventiveness.

Conclusion!

The thriving music and dance industry in Uganda reflects the nation's cultural variety and creative development. Although Ugandan musicians have been propelled into the world stage by the modern music industry, traditional music and dance are still valued traditions. Uganda's music and dance culture is a dynamic force that keeps evolving and captivating audiences throughout the world because to the blend of old and new, tradition and creativity. Therefore, Uganda has something to offer any music and dance fan, whether you're tapping your feet to the beats of traditional drums or dancing to the beats of modern Afro-pop. It's a celebration of the traditional and modern, old and new—a harmonious symphony of civilizations.

#emmanuel katto uganda #emmanuel katto #music #dance #emmanuelkattouganda #emmanuelkatto

[am-reggae]

Horace Andy – Midnight Scorchers Sello: On-U Sound – ONULP153C // LP / Vinilo // 2022 /// Edición Limitada / Vinilo Color Naranja // ====================== A companion album to Midnight Rocker produced by Adrian Sherwood // Featuring new tracks; radical dancehall re-works with MC interjections from Daddy Freddy and Lone Ranger; and stripped back instrumental version excursions in classic dub reggae style // Includes download card /// ================= ESTADO: ==================== LP Nuevo - Precintado // ============ 32€ ============

#Horace Andy #adrian sherwood #On-U Sound #lp #actual #dub

[cnvisualart]

Thesis Study 03: Ah New Riddim, 2022

The journey towards making this installation, this documentary, and this body of work has been fluxed with moments of discovery, failures, successes, and triumphs, albeit small and transitory. Unlike previous iterations (Constructs and Context Relativity I & II), the writing has been instrumental to the project’s development and countenance. Major progress in production has emerged through significant writing, research, and ruminations on concept, lineage, artistic approach, and methodology. This semester, I presented new footage in an extended linear excerpt of my thesis to my cohort and faculty in MIT’s School of Architecture + Planning Bartos theater.

I look forward to piecing all parts of this project together in the days ahead. Although it is rather ambitious, I am undoubtedly up for the challenge. Special thanks to faculty and staff of MIT’s Art, Culture and Technology program and guest critics, Tania Bruguera and Stefanie Hessler.

Working Statement: Ah New Riddim is an immersive multi-channel installation and interactive documentary that examines the spatial-temporal relations of memory and place embedded within the cultural appropriation of dancehall in American urban space. The film utilizes 80’s dancehall archival footage of my father and the quiet of black subjectivity to expound the relationship between black globality, dancehall, and American locality. As a placemaking production, how do the body’s grammar, symbols, and socio-cultural practices articulate notions of locality? In Ah New Riddim, dancehall functions as a placemaking production. It makes visible the temporal politics of locality, and evokes a sweet sense of home grounded in the cultural assemblage of identities and collective memory. Although ‘back home’ is never made visible in the film, the notion of “back home” translates as a feeling activated through the presence of the body and material objects in relation. The project demonstrates how space is transformed and contested through the spatial practices of its locale.  It utilizes the quotidian elements of my subject’s inner life to decentralize universal narratives imbued within visual representations of the urban and considers the potential of interactive storytelling, immersive inter-sensory installation, and performance in exploring sensorial evocations of place. 

Credits:

ACT Final review documentation of my presentation. Image courtesy of Gearoid Dolan, ACT.

ACT Final review documentation of my presentation. Image courtesy of Gearoid Dolan, ACT.

ACT Final documentation featuring footage of Architecture in East Flatbush.

ACT Final documentation featuring contemporary footage of my father, Joseph Neptune.

[flyingdandeliontravelandfood]

Jamaican musician introduce some instruments and play music at "Evening with #Jamaica" Toronto #牙買加 音樂师在多倫多的“牙買加之夜”介紹一些樂器並演奏音樂 The music of Jamaica includes Jamaican folk music and many popular genres, such as mento, ska, rocksteady, reggae, dub music, dancehall, reggae fusion and related styles. Reggae is especially popular through the fame of Bob Marley. Jamaican music's influence on music styles in other countries includes the practice of toasting, which was brought to New York City and evolved into rapping. British genres such as Lovers rock, jungle music and grime are also influenced by Jamaican music.

#Youtube