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OOOOK! It’s been a wild ride since my last post for y’all. Since then I’ve trekked through the jungle in the Osa Peninsula of Costa Rica. I saw a puma! Amongst many other creatures as this area of Central America holds 2.5% of the WORLDS biodiversity. How cool.
Went to the incredible Lucidity Festival (one of my faves this year so far!). Hung out in Los Angeles. My 4th time there in the last seven years. I have a new found love for Los Angeles that I’ve never had before. It’s so much better with friends! Checked out Bruno Pronsato at the Monarch in San Francisco. Easily the best soundsystem in the city! Went to my favorite festival (all free!) called How Weird Festival in San Fran. Six blocks in the financial district closed off, tons of soundcamps (many from burning man!)…all the weirdos and crazies havin’ a good time.
So here I finally am, about to embark on another adventure towards Minnesota, then Chicago, then to DC for my homies festival FORWARD FESTIVAL (ALL ELECTRONIC HEADS LOOK INTO THIS FESTIVAL!), back to NYC, and finally back to Montreal just in time to cover this year’s grand MUTEK (electronic music and digital arts) event!
I’mma share a few tracks that I’ve been vibin’ hard on for the last few months. Blessings for this abundance! Sending out my luv and vibrations to y’all. Enjoy and stay tuned for more dope beats!
I have been obsessed with Bondax and this track since it came out a bit over a year ago. Every time I play it for my musically versed friends they’re like, “who is this?!”. Even after a couple of years of a few other singles releasing, they’re still on the downlo. These two youngin’ DJs from the UK know what’s up! The bass drop in this track is soooo sexy and rattles the deepest parts of you. I wish this track was longer. They just did a podcast with XLR8R which will give you a better idea of what they’re all about. Turn this bitch up!
I love this LA-ite hip-hop infusing sexy r’n'b driven shhloooowed down house beat makin’ brother! Shlohmo is the shit and I got the chance to see him at Mutek last year! Check out my other Shlo-posts This track is with Jeremih, another rising r’n'b hip-hop star that released the sexy “Fuck U All the Time” last year. These two together are DOOOPE! Turn this up.
Disclosure is my new favorite discovery. Another young duo from the UK reppin’ the scene! Catchy and sexy vocalists highlight the already poppin’ bass lines, garage styled post dubstep beats. A tidbit from an incredible article below. Full read recommended:
“The rise of London duo Disclosure is the kind of story that makes music journalists salivate. First off, its two producers are brothers—a relationship which has become increasingly uncommon in the current musical landscape—and, to sweeten the deal, the siblings dropped their first single at the astounding ages of 16 and 18. That was a little less than two years ago, and, since then, Disclosure’s productions, which began as deft pieces of post-dubstep admiration, have blossomed into increasingly robust slices of soul-laden bass music, proving that the artists’ relatively young age is merely a footnote in an impressive trajectory that has ushered in a string of singles, a free EP, and a consistent run of quality remixes.
“We mixed our first single in the car,” says Guy Lawrence (the oldest of the brothers, now 20) in reference to Disclosure’s first official release, “Offline Dexterity” b/w “Streetlight Chronicle,” which came out via !K7′s Moshi Moshi sublabel in the fall of 2010. The songs featured on the single were in fact the first tunes the brothers had crafted together, finding a shared inspiration from the wave of post-dubstep sounds that were defining the London scene at the time. Unsurprisingly, they found particularly potent common ground—as most producers do—in their mutual admiration for Burial’s seminal LPs, which had been released a few years earlier. “We just made that first single for a laugh and put it on MySpace,” explains younger brother Howard, now 17. “It got loads of attention and we just realized we should make some more music together.”
Turns out they’re releasing an album called Settle in the beginning of June! STOKED! Turn this waaaaaaaaaay up! Check out their other tracks on soundcloud as well!
I just got back to Montréal just two months ago after having been away for over a year. Travelling. Journey. Discovering. Learning. I realised recently that I’ve been really out of touch with the indie scene while I was away. One of the artists that I still kept in touch with while I was travelling though, was M83. I got their most recent and long awaited two disc release, Hurry Up, We’re Dreaming (Naive Records, Mute Records) in October of this year. With this recent LP, Frenchman Anthony Gonzalez once again shows us that he’s more than capable making music that go beyond just Listening. His talent of painting musical landscapes that we can touch, see, and feel with his sound is something special that has kept me drawn and interested in his music since his first self titled release in 2001—then with Nicolas Fromageau, who is now in Team Ghost. So when I found out that M83—with openers Active Child—was playing a show here for the last day of the festival M pour Montréal, I knew I had to go.
M83 is a group named after the spiral galaxy Messier 83, formed originally in 2001 by two guys from France, Anthony Gonzalez and Nicolas Fromageau. The latter member left shortly after 2005 with releases of M83 (2001) and Dead Cities, Read Seas & Lost Ghosts (2003) together. Since then, Gonzalez has released equally if not more emotionally charged LPs: Before the Dawn Heals Us (2005), Digital Shades Vol. 1 (2007), Saturdays = Youth (2008), and Hurry Up, We’re Dreaming (2011).
All of M83′s albums have been consistent in the artistic language that Gonzalez has done so well in presenting to us. They get compared to a lot to bands that have blown up in the past couple of years like Neon Indian, Washed Out, and Memory Tapes who do have qualities that M83 possesses but the comparison is not so justified in my opinion. M83 goes outside the box of having a particular monolithic sound by encompassing and combining chillwave ambience, psychedelic surf pop, shoegaze, minimal electronic, dreamwave, instrumental rock and experential intention with his sound. This intersectionality varies whether all these elements are in just one song or not. It’s clear when you listen to his music. It’s clear when you listen to an album begining to end. He makes albums that flow well, sound good, and has tracks that make you dance (you know, generally what makes an album good, eh). But, it’s more than that. He’s making you a Soundtrack for Life.
Your first cigarette. Your first lover. Your loneliness. Losing a loved one. Heartache. Breaking the rules. The glare of the sun in your eyes. Getting older. The Kiss that never ended. The sand in between your toes. Letting go. Joy. Lessons learned. Thunderstorms. Being Alive. You find yourself in emotional whirlwinds all of a sudden. You stop everything you do and you listen, smell, see, and touch the music. You come out realising all that you’ve been through ’cause the music has brought you this history. Emotionally charged in the sound, the distant cries of his muffled singing, the Naming of the tracks, and the intention behind the pauses, the music has the power to push you into different realities, bad and good. In the end, there is this clear underlying optimism in his music despite all the sad parts. The Positive in the Negative. Each album contains this inevitable evolution. This varied catharticism is what makes M83 so special.
Some tracks that M83 are most known for are their more upbeat danceable tracks like “Kim & Jessie“, “Graveyard Girl“, “Midnight City“, “Don’t Save Us From the Flames“, “Teen Angst“, “Run Into Flowers“, and “Couleurs“. While these are fantastic tracks and I have so many favorites on top of these, I want to share some tracks that have become soundtracks for certain moments of my life.
It will be interesting to see how M83 is live tonight. I no doubt believe that Gonzalez will take us on a journey. For those of you lucky enough to get tickets to the now sold out show, see you there and bon show! Don’t forget to come back for a review of the live show! Thanks to M pour Montréal for having me cover this and especially to Catherine who made this possible.
You can buy M83′s music here!
MP3: M83 – Safe
It was a beautiful night in Montréal last night in the Latin Quarter, barrio host of M for Montréal and the globally recognized and acclaimed Mutek Festival. Le Monument National was lit up wonderful purple hues, Club Soda got blared its’ lightsin preparation for the M83 after party, and as always, le S.A.T.’s sound system was heard going beyond the walls to the dark rimmed glasses, fancy winter boots, thrifty tops and waves of plaid wearing people smoking outside.
Active Child is a project that recently came into fruition by Pat Grossi, native of New Jersey who now lives in Los Angeles. Accompanied by two more band mates that look surprisingly similar to Grossi himself (or maybe it was just the lights, jaja), Active Child busted out music that reminded me of the 80′s electronic pop sound of Depeche Mode & New Order, the soundtrack nature of M83, the ambiance of Ocuban, the new school style of R’n'B now popularized by Drake and The Weeknd, and Grossi’s voice! (So, all good things. Jejeje). Oh! His voice sounded like the Presets lead vocalist, Julian Hamilton. Oddly enough he doesn’t sound like this in his debut studio LP, You Are All I See (Vagrant Records, 2011). Either way, studio or live, his voice is wonderful, unique, interesting, and cosmic (he used to sing in a choir)! Pat Grossi has an incredible voice that has a transformative range of style which, along with the fact that he plays a mean harp and experiments with synthesizers, enables him to paint soundscapes just as M83 does while keepin’ it slightly sensual with some R’n'B flare.
I had no idea who Active Child was, no idea what kind of music but figured it was worth seeing if they were opening for M83. It was definitely a decision I don’t regret. They impressed the hell out of everyone in that crowd and no doubt prepared us for the journey we were about to take with M83 but dosing us with a cheeky adventure of their own. Fantastic performance!
Buy their music here!
Now onto M83. Hoorah! The long wait was over! The lights dimmed and epic synths started our journey into space. The background was lit with tiny lights reppin’ stars that changed colors throughout the show with six or so brightly lit up columns lining the back. The whole set up reminded me of some space portal platform. Beyond the columns, the stars, space, infinity, and the unknown. Ooooooo. The four stood in between us the galaxy. They were going to take us on a cosmic voyage. They were our passageway and as curious, adoring, fundamentally imaginative creatures, and lovers of the dream state M83 is so good at inducing, we acquiesced.
“Intro”, the first track off of their latest album started slowly through the speakers. The synths were prolonged and etched carefully deeper and deeper as the lights began getting more intense. All of a sudden there was this creature. Looked like a human but had a possum rat head! Possum rat hands and eyes and ears! It was alien to us but that was what we signed up for. The adventure begins.
The band came on with full applause. Founder of the group Anthony Gonzalez (center), and his three touring bandmates, INCREDIBLE vocalist/keyboardist Morgan Kibby—who helped in production of Saturdays = Youth and Hurry Up, We’re Dreaming (right), drummer Loïc Maurin (back), the possibly new bandmate that M83 was searching for a few months back (left), hopped on stage to full and ear deafening applause. You knew with this kind of opening that the rest of the night was going to make history in our memories. What an intro song! What a start! With Gonzalez strutting his dance moves with his back against us arms behind his head, and hoards of people singing along and crying out “Carry on! Carry on!”, it was clear that from the crowd to the band, everyone was In It Together From the Beginning.
M83 never dropped a beat throughout the entire set. The energy was kept high like a good DJ at a club and they were simply unrelenting in their efforts to make us sweat. At one point Gonzalez paused and made a little joke about how was going to err speak English and then laughed and spoke French well ’cause, you know, we all knew he was from France. Jajaja silly man. So, this was the one time that there was a “significant” gap in the tracks. It was a good gap. The crowd loved him more because of his charming humor.
After “Intro”, they went into “Teen Angst” which got the crowd even rowdier with a very nice change up in the climax of the song with some techy beats that reminded me of their musical history in Dead Cities, Red Seas & Lost Ghosts. They didn’t play any songs off of M83 or Dead Cities but they paid tribute to them with these kinds of change ups in their more recent songs that they did perform which I really liked. It kept the momentum of the energy high and kept the integrity of their musical evolution.
They go straight into one of their most popular tracks that put Saturdays = Youth solidly on the map, “Kim and Jessie”. Can I just say, THEY KILLED THIS TRACK. It was ridculous how good it was live. Kibby was rockin’ out hardcore Led Zep styles. I was amused and was pulled in by the new bandmate who reminds me a lot of the bandmate that every band has to have or has had at some stage. Curly hair, surfer cali look, not too much emotion on his face like what he’s doing is super serious and there’s no fun in seriosity. But you know he feels the music and the emotion super intensely and he’s about to explode with it ’cause he gets those wide eyes at climatic moments and his body goes into crazy dance offs and guitar offs. You know what I mean? Meanwhile, Anthony had this epic happiness to him on stage.
They always changed up the build up, build down, and climaxes of songs to include that minimal techy Kraftwerk-y Space-y PEWPEWPEWPEW Space gun Tron-like musicality to remind us that we were on an alien space voyage with them. At some points I literally felt like I was at a Rave in Space. Lasers! Stars! Alients! Epileptic strobe lights everywhere! It was so surreal. It was so amazing.
Everyone on stage was having a blast. Dance offs, guitar offs, tamborine offs. Laughs and petite and brief exchanges were made between the bandmates. There wasn’t much conversation with us verbally, but we were very much connected to them the whole time and the room was palpable to this. Their harmonies on every single track was INCREDIBLE. On point. To a tee. I think that’s why everyone walked out of this show unquestionably happy and impressed. The energy from the crowd, the band, to the music was just so explicitly intense. Smiles were on everyone’s faces.
M83 ended the set with “A Guitar and a Heart”, a song true to the instrumental rock influence within their music. After the whole hearted ovation, the band came on and started with “Skin of the Night”. It was epic. And then, the moment came when they played one of my favorite songs and DESTROYED any and all good encores that we’ve seen in the past on our memory’s map.
“Couleurs” came on with a fierceness. The nine minute build up was tantric. They built and built and built and kept us on the edge for the longest possible moment. Everyone is going nuts on stage. Kibby is wilin’ out on the tamborine. The guitarist abandons his keyboard station goes onto the other side and starts banging on an electronic drum kit. The drummer is KILLING it (he reminds me Phil Selway, the mad talented drummer of Radiohead). Gonzalez is on the floor! He runs around! Then all of a sudden the intensity calms down while we’re on the brink of tipping. Gonzalez screams “MONTRÉAL”! We scream back. He screams again, “MONTRÉAL”! WE SCREAM BACK. “Couleurs” comes back in full force after this pause and puts an end to this aural tantric tease. The pace was ridiculously quick and hardcore in the end and pushed the limits like all good encores do. Head banging. Spaces were getting distorted. People crying. Fist pumping. Jaws open. So much love. I’m sure the humidity in the room went up 20% from all our sweat and tears.
This is one of the best shows I’ve seen in a long long time. Definitely one of the best encores I’ve ever seen as well. It would be so hard to top. Their studio albums don’t even compare with their live show…which is awesome and telling of what a great band they are. The best songs of the night for me were “Kim & Jessie” and obviously, “Couleurs“.
I’ve already shared some of their tunes in this post. Click here to be redirected!
Setlist: M83 @ Le S.A.T. (Montréal; 19 11 11)
02 Teen Angst%
03 Kim & Jessie^
05 Year One, One UFO*
06 We Own the Sky
07 Steve McQueen*
09 This Bright Flash*
10 Claudia Lewis*
11 Midnight City*
12 A Guitar and A Heart%
13 Skin of the Night^
* Hurry Up, We’re Dreaming
^ Saturdays = Youth
% Before the Dawn Heals Us
It sucks they didn’t play anything off Digital Shades which is one of my fave M83 LPs but the selection was great regardless. I think they might have played “Gone” off of Dead Seas leading up to “A Guitar and A Heart” as well, but I’m not completely sure.
Hope you guys enjoyed the show!
Thanks again to M for Montreal and Catherine.
This list is definitely the smallest and less encompassing than the others simply because I’ve been revisiting a lot of old school hip-hop, rap, etc albums from the 90′s. Also, since this is my last part of of the Decade’s list, and it’s already the middle of February…going through my music library was definitely more of a skim…so sorry if you’re screaming at the computer wondering where certain artists are…jajaja
I also decided to go over my Top Shows as well. Back in Edmonton, I averaged maybe 4/5 shows per month depending on the season…and now in Montréal I average that every 1/2 weeks! So a lot of names on this list will be moreso the last 3 years…shows that are much more recent and those beyond that were obviously unforgettable. I wish I had the time do to Top Shows according to genre because they really don’t compare to each other…but I did my best!
***Finally I am posting these decade end lists. Gaaah I love and hate lists. They enlighten me towards new music yet at the same time they’re ridiculously subjective. From one point to the next an album can be the best and not depending on the season, the weather, my emotions, whether I’m under the influence, yada yada yada. Because of all this, the numbers on my list aren’t a ranking system of worst to best—because I think they’re all equally fantastic—they’re simply a form of organization. But, a few times on the lists I will put a clear marker on the artist/album that I feel truly outranks the rest. It’s only here where I exercise a bit of hypocrisy.
I know I’ve left hundreds and hundreds of artists out. Making a “Top 10″ list per sub-genre for the decade is trifling, I know. It really should be “Top 100″ per sub genre. Every day I keep remembering ones I should add but I have too much music and too little time. I did my best with what I had and what I remember and the time I had! You’ll notice that a lot of the artists are from the last 5 years and that’s because my mecca of music is back home. Home home. Like where I was born jaja. So…sorry for the lack of early 2000 albums. =)
I also dislike one shot lists! You simply can’t compare down-tempo artists to dubstep artists, etc. So, I tried to organize artists into the genres I felt fit them best as opposed to putting them all in the same pool. But obviously some artists mix into the other genres or were put there even though they have a very specific genre of their own (avant-garde, balearic, etc etc). Gaaah and genre is so subjective as well. Bear with me and keep all this in mind! A lot of these artists are featured in my NYE and NYD mixtapes or have been blogged about! So check the mixtapes out or do a quick search on ATM if you feel like more sampling.
10. Norah Jones – Feels Like Home (2004)
09. Amy Winehouse – Back to Black (2006)
08. John Legend – Get Lifted (2004)
07. [re:jazz] – nipponized (2008)
06. Parov Stelar – Daylight (2008)
05. Manu Chao – Proxima Estacion…Esperanza (2001)
04. Rodrigo y Gabriela – Rodrigo y Gabriela (2006) ♥
03. David Rotundo – Blues Ignited (2003) ♥♥
02. Asa – Asha (2008) ♥♥♥♥♥♥♥♥♥♥♥♥♥
01. Tribalistas – Tribalistas (2003) ♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥♥
Mentionables that couldn’t fit:
Juana Molina – Segundo (2003)
Floetry – Flo’ology (2005)
Juanes – Mi Sangre (2006)
Forro in the Dark – Bonfies of Sao Joao (2006)
Deweare – High Class Trauma (2007)
Ebrahim – Goldrush (2007)
Orgone – The Killion Floor (2007)
Funki Porcini – PLOD (2009)
Sola Rosa – Get It Together (2009)
Soulive – Up Here (2009)
Alright folks, the updates are gonna start to be a bit more regular now. Sorry for such big gaps in between actual happenings but I’m trying my best to get them out to you as quickly as I can. Anyways, below are some songs that are HUUUUGE for me right now. Check ‘em out.
↓Four Tet recently released a short EP-ish thing with two tracks, this, and “Our Bells” which is also pretty awesome though in an eerier way. “Love Cry” is gonna be huge in the electronic world. These are legends, friends. And I think with this, they’re baaaAAAck!
MP3: Four Tet – Love Cry
↓To be honest, I’ve never been a huge fan of Tiësto. Every time people go nuts for the guy, say he’s the number one DJ in the world and blah blah blah, I just quietly disagree. He really isn’t that great IMO, from all his albums to even his live shows. But his most recent release Kaleidoscope has taken a different turn in that he has a ridiculous amount of cameos…most of ‘em from the indie world. You guys probably remember the song with Tegan and Sara! Well, this one is killer. And I’m quiet impressed with the album. But he still remains pretty low on my DJ books.
↓Just something that came up on my Mediamonkey one day…and I was like…oooooooh yeaaaaaaaaaaah!
↓Trey Songz, coming up BIG in the R’n'B world.
MP3: Trey Songz – Say Aah
↓This is a ridiculously misogynistic song. But it’s so catchy. Damn American rap! So bad yet so goood.
↓BIGGEST SONG OF THE WEEK! BRAAAAAAAAAAAAAAAAAAAP! BRAAAAAAAAAAAAAAAAAAAAAP!
I just want to rant a bit first before actually writing the review. I was going to do this last night but decided to sleep on it and calm down a bit. But, turns out, I still feel the same way.
Yesterday was a great day. I saw great bands. It was lovely weather. Coldplay was absolutely magical with the fireworks, and the paper butterflies and the big yellow balloon and the various other shenanigans going on. But what do I remember most about last night?
HOW I HAD TO WAIT FUCKING 1.5 HOURS JUST TO GET ON THE METRO. Yeah. It effin’ sucked.
Perhaps you’re thinking, well it would have been a good idea to leave before the show ended, or right when the show ended to hustle your way to the metro to avoid the rush. BUT WHY SHOULD I? I wanna see the encore. I paid for a ticket so that doesn’t mean that I should leave early because Osheaga organizers and the STM couldn’t get their shit together. NO OTHER FESTIVAL, for crying out loud, not even HOCKEY GAMES in Edmonton have this poor organization.
It is not possible to up the speed at which they’re leaving? To run as if they were in rush hour? I get that there are only a few trains that can run max because of the way the tracks are organized, fine, that’s great. What about alternate methods off the island. For example, shuttle buses. Those can fit at least 50-60 people per bus, have 20 some buses going back and forth off the island to alleviate the stress on the metro. Maybe this is too expensive? Maybe this is worsening the carbon footprint? So, fine. don’t have the shuttles.
BUT AT LEAST FUCKING COMMUNICATE WITH US. No one knew WHERE to go. I was one of the unfortunate ones that went to the other fork in the path and ended up coming into the metro on the side, and not the other fork, which would have been directly towards the metro doors. Why weren’t there signs telling people to go the other way, or at least staff? Our side took at least 3 times longer to get to the doors than the other. And probably made the other line much more inefficient as well. Why not group everybody in the line that matters? And if this isn’t the case, still! Why not tell us how many trains are going, how many people can get on per train and how long it takes? Perhaps this isn’t they’re job? Communication is the key to from disgruntled, tired, pissed off people, to disgruntled and tired people who accept what is going on. We’ll still complain but at least we’ll know what’s going on. And that’s better than keeping us in the dark.
Osheaga is a festival that is about to terminate. Organizers even said that if this one doesn’t go well, they might not have another one (once I find the source, I will post it). Shit like this, where thousands of us, with our feet literally so brittle from having been on them all day, bodies tired from the sun and from dancing, and our moods utterly in the deep depths of hot pissed off fiery hell, were complaining our asses off and really frustrated in having to wait over 1.5 hours just to get on a train!
Osheaga, it’s great that you organized free transportation for people who have tickets on the metro, but this is fucking shite. Surely, you learned from the previous three years?! That tens of thousands of people waiting for one fucking metro line will take eternity and piss off a lot of people and doesn’t leave us happy? At. All?
I can only imagine all the people behind me…who must have waited 2+ hours…and I don’t know if the train extended their hours either, as the metro usually stops running until 0100. People were running to different connecting lines when I got off at Berri around that time. You would think that they extended the hours, they HAD to, otherwise thousands of people would have been stuck on an island, or at Berri. See? No communication. Where are the posters saying that there would be extended hours on these days so people don’t freak out and panic that they can’t get home without having to pay for an extremely expensive cab ride or have a long walk home?
I am still pissed off. Mainly because I was exhausted yesterday, and standing in the middle of the crowd like that, inching forward a few feet per 20 minutes on feet that were about to crack from overuse, was getting claustrophobic, and required even more energy (barely any left), just to survive brinking anarchy. I am sure I was not the only one.
So fuck you Osheaga and STM for not having organized a way of getting tens of thousands of people off an island. You suck. And I have more things to complain about like how they were taking the caps off the bottles of water (making them unreuseable), having barely any garbage cans or recycle bins on a vast amount of space (making your grounds super dirty, bottles in the garbage and garbage in the recyling, and not to mention extra time and money in clean up crew), and having so little vendors that the line ups for food and drink took a fucking long time (except for Dagwoods, they knew what was coming and prepared. Probably the best organized thing about this festival). But you know, it’s a four year old festival, but you would think they’d learn from their mistakes, learn from the bigger festivals or even MJF…why do people go back to those festivals all the time and don’t have much to complain about? Because it’s well organized. If Osheaga stops next year, or even the next few years, I won’t be surprised if it keeps going the way it’s going.
But you know what, enough negativity. Though the experience wasn’t as good as it could have been, the music was. I feel better now that I have all of this off my chest. I can’t complain about the shows, they were great, they were wonderful. So come back later today for a full review of the first day!
Edit 05 08 09: Sorry this came so late. This ended up being the only day of the two Osheaga days I went to because the second day was full of bands I’d already seen, and plus, I just didn’t want to deal with the metro at the end of the night. In the days between Osheaga Day 1 and now, I’ve been dancing to industrial, learning how to speak Jersey courtesy of my couchsurfers, and reading in the park. But I realise I gotta get this done before anything else. I HAVE SO MUCH MUSIC TO SHARE WITH Y’ALL. But first, the review of the Osheaga Day 1…after the jump!
Alright folks, this is gonna be a super quick recap for this day since not much happened…but I can tell you that something HUGE happened.
KOOL AND THE GANG!!!
My recap after the jump!
YES YES YES!!! TODAY MARKS THE START OF THE MTL JAZZ FEST WHICH I WILL BE COVERING FROM HEAD TO TOE! TONIGHT! MR. STEVIE WONDER! AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAH!!!!!!!!! COME BACK FOR A RECAP OF THE NIGHT! I LEAVE YOU WITH SOME OF MY FAVES OF HIS! GAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAH!
EDIT: I AM HOOOOOME FROM STEVIE AND I AM SOOOOOOOOOOOO HAPPY! AFTER THE JUMP FOR MY RECAP!
I just got home from the Shout Out Out Out Out concert and am severely worried about my hearing more than I ever have before. I am hoping I’ll have enough time to write a review of it tomorrow and have it posted by then.
For now, feel free to watch this video and SUBSCRIBE to this dude’s youtube videos, facebook page, AND myspace ’cause this guy is ill, not sick. And he’s ok, but his watch sick. Yeah his drop sick. Yeah his glock sick. And he’s not thick? He is it. Motherfucker he’s ILL!
He uses the sampling technique similar to how Feist or Final Fantasy (Owen Pallett) does. Way dope. Ch-ch-ch-check it out!
What do you think?!
Madcon is short for mad conspiracy. They are from Norway. And they overflow of awesomeness.