Clothing line Urban Outfitters is now dabbling into the world of vintage music, announcing Tuesday that they will soon carry both cassette tapes and ‘retro’ cassette players, in select stores and online. The retailer was revealed last year to be one of the biggest sellers of vinyl, after Amazon, so naturally their next move is to delve deeper into the retro realm by digging out the ol’ faithful cassette players
UO doesn’t plan on relaunching old cassettes however, with several bands signing up to release exclusive tapes, giving the marketing scheme a more modern take. Run The Jewels, Halsey and Marina & The Diamonds have all been confirmed to be involved in the move, with the store saying they will also carry cassettes by Beach House, Action Bronson, American Football, Japandroids and Muse.
“Music is very, very important to the Urban customer… in fact, we are the world’s number one vinyl seller,” the retailer’s chief administrative officer, Calvin Hollinger said to Buzzfeed, about their vintage plans.
Stores in Los Angeles, New York, and Omaha will also be participating in Cassette Store Day, which takes place in “fun” stores all around the world this Saturday, October 17. While the select stores carrying the product are located only in America, Australians are able to purchase cassette’s through the Urban Outfitters website, if you feel like indulging in some 80’s nostalgia and/or novelty.
It’s been a minute since Cashmere Cat has released some new music, but the wait is finally over, with an irresistibly serene remix of Hudson Mohawke‘s Forever 1.
Recent years have seen both producers making big names for themselves, producing for huge artists including Kanye West, Ariana Grande and Kid Ink. Though the two are frequent collaborators, their solo career have allowed them to maintain totally separate identities. So when the pair comes together, it truly is worth stopping in your tracks.
Cashmere has previously released an edit of the track for an episode of Diplo & Friends, however this offering shows the producer putting his unique stamp on the track. This remix is soothing, featuring stripped back vocals in favour of mellow synths that is sure to fit right in on anyone’s summer playlist.
Cashmere Cat had this to say on his SoundCloud page after the release of the track:
“hi
heres a cover version i did of hudson mohawkes “forever 1”. ive been opening my sets with it for a year and a few people have been asking for it, so im very happy to share it with you today. its fall in new york city, im feeling inspired and working on lots of new music. see u soon <3 cc dom i love u”
Listen to the track here:
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California based rapper Casey Veggies, is one of the brightest stars coming out of LA hip hop today. At only 22 years old, the artist has achieved miles more than most, having come to attention with former crew OFWGKTA. Veggies, real name Casey Jones, has been releasing mix tapes since the age of 14, and since then has gone on to co-own his record label and clothing line, Peas & Carrots International. In spite of what feels like years of success and recognition, his very first full-length album, Live & Grow, was just released late last month. We had a chat with the man himself about the new album, his clothing line and more.
Hey Casey, thanks so much for speaking to me today. I love Live & Grow!
Thank you so much, I really appreciate that.
I thought it was a really strong album, I especially loved I’m The King – it’s such a great opening track. How did the idea come about for you to use clips of your dad speaking on that track?
That’s one of the earlier songs we created for the album. It just had a crazy vibe to it, it reminded me of something old school, there’s just an old school feel to that track. It just brought out me speaking out about my life, and talking about how I was feeling. I started off the album just speaking about where I saw myself at, how I’m feeling at work and my perspective on the game. It’s like a boost, it’s like a real confident song. I’m kinda not really telling people that I’m the king in that song, I’m just speaking on the fact that we’re all kings, we’re all human beings and people should think of themselves as a king and be confident in themselves. And that’s pretty much the concept of that song, and that’s why I had my dad talk on it. It just meant a lot to me.
[youtube http://www.youtube.com/watch?v=xABFaKEsORA&w=420&h=315]
I really loved it. Did you have a favourite collaboration on the album?
I think the record with Tyler, The Creator is probably my favourite collab on there!
What was different now that you’ve got major label backing? Did you learn anything new during the recording process?
I think there was just a couple things that I was just trying to figure out on this one. You know, it was a little different of a process but I definitely adapted to it and I learned a lot creatively.
Can you tell us a little bit about Peas and Carrots International as well?
Yeah, Peas and Carrots International is my clothing line, my brand, it’s a lifestyle brand. We have a store out here in LA, and there’s a lot of new things coming soon from the brand. We have a lot of collaborations coming, we just dropped a collab, a pair of boxers. We just have a lot of new things in store.
[youtube http://www.youtube.com/watch?v=uSEvpgohpfU&w=560&h=315]
Do you think there’s something important about the relationship between music and fashion?
Yeah, they go hand in hand! They’re both strong, strong advocates for creativity.
What would you say you get creatively out of fashion, that’s different to what you get from making music?
They’re just both such strong forms of self expression, you know we rappers like to express how we feel. In what we wear, in what we say and how we say it.
I saw you had a scene in the film ‘Dope’ as well, how did you get involved with that?
It was just dope, it was a dope opportunity. The movie was based in my hometown of Inglewood, and the director reached out to us, and was like you really embody the era, and the generation. I was more than happy that he called me, and its a super dope movie.
Do you think you’d do something similar in the future?
Oh, definitely! I’m definitely going to stay in tune, and keep thinking of accessing more film opportunities.
So, in regards to the album again, when you write do you consider your audience? Or would you say you write solely for yourself?
Who am I writing for? I write for my fans, I write for myself, I write for the people around me and I write because I know that a lot of young kids listen to my music. And you know, the world does need a lot more positive energy, we need to focus more on giving back and give people something they can use that will benefit them.
You’re really active as well on social media. What effect do you think social media has had on you as an artist, and your interaction with fans?
I think it’s dope. I think it definitely gave me the chance to spread my music, and it gave me a fair chance to become an artist and follow my dream and get my music out there to the world.
[youtube http://www.youtube.com/watch?v=CgLgAisFrmc&w=560&h=315]
And the Chris Brown saga continues.
GetUp!, the activist group leading the campaign calling for Brown to have his Visa blocked by the Australian federal government, have issued an apology for the ‘racist aspects’ of their campaign.
“Over the course of the weekend a lot of people started reaching out to us and raising the issue of the racist aspects of this campaign,” said national director, Paul Oosting via the Sydney Morning Herald, “We have a migration system that unfairly targets people of colour and this is a system that we inadvertently fed into. We caused angst and grief and we are unreservedly apologising for that,” he adds.
“I find Chris Brown abhorrent and it’s really damaging to society that men who commit domestic violence are granted celebrity status. There are wide range of white Australian men who have committed acts of domestic violence who enjoy celebrity status.”
Oosting also added that GetUp! will continue to lobby the federal government about domestic violence, particularly funding for frontline services such as women’s refuges. This is the first time GetUp! have made such a major change to a campaign.
“As an organisation with a small staff base we are not always going to get it right and we have to be open to changing our approach and acknowledging where we got things wrong,” he said.
[youtube http://www.youtube.com/watch?v=uSl3lhxwhDo&w=560&h=315]
Drake just achieved something only four other artists ever have before. The release of his collaborative mixtape with Future last week, saw 8 of its 11 songs top the Billboard charts. This means that Drake has had an astonishing 100 songs on the Billboard Hot 100 since he left Degrassi to start his hip-hop career six years ago. If you do the math, that amounts to a ridiculous 16 songs topping the charts per year.
Interestingly enough, the highest amount of singles awarded on the Billboard Hot 100 goes to the cast of TV musical-drama Glee, with a whopping 207 offerings. This was followed by Lil Wayne with 127 and Elvis Presley on 108.
His newly released mixtape, What A Time To Be Alive- a collaborative effort with Atlanta artist Future, debuted at No. 1 on the Billboard 200, making it Drake’s second album this year alone to make that achievement. Hotline Bling, while not part of the mixtape, is also sitting pretty at number 4 on the Hot 100 chart. Future closely follows Drake on the Artist 100 list – at a respectable No. 2.
With 2015 showing colossal achievements so far from Drake, it will be interesting to see what will happen if rumoured album Views From The 6 is dropped in the coming months.
[youtube http://www.youtube.com/watch?v=5uq1jtsHcgk&w=420&h=315]
It’s hard to take a step without falling over The Weeknd right now. The breakout R&B-pop superstar of the year has led global chart domination with Beauty Behind The Madness, not to mention the flurry of singles and featured collaborations with is undoubtedly well deserved, the album was produced over almost two years- and has shown serious progression from Canada’s resident sad-boy.
Last week saw Tesfaye and co bring his seductive beats to London, where he headlined Apple Music Festival. He also took some time to visit the BBC Radio 1 studios to take part in their live performance series, Live Lounge. He performed a gorgeous, stripped down version of The Hills, his second single off the album.
It’s really cool when an artist shares such a varied version of the song to the one that audiences know and love. This rendition of the track is entirely different to the one on the album. It is raw, it’s pared back to nothing but the bare essentials: tender guitar strums, Tesfaye’s expressive, distinguished vocals. Now carrying a kind of haunting poignancy that wasn’t portrayed on the studio version, The Hills has been redesigned into something breathtaking.
Considering the feedback, you never know: he might release this is an alternate single.
[youtube http://www.youtube.com/watch?v=Fk-nkj0UozM&w=560&h=315]
Boy & Bear are a stunning success story. One of the last surviving bands with grassroots beginnings, the Sydney-based band have seen no limit to their success. Debut album Moonfire went 2x platinum, and their follow-up Harlequin Dream went gold. With third album, Limit Of Love slated for release on October 9th, it will be interesting to see what they will achieve the third time around. The band took an organic approach to recording, produced by Ethan Johns, each track on the album was recorded live in studio- with no extra gimmicks or production.
We had the honour to speak with drummer Tim, about their upcoming release and tour plans.
So, Limit of Love is set to drop in October. Considering Harlequin Dream saw a progression from your debut into something that sounded more stripped back and focused instrumentally, is your third album set to progress in that manner?
The songs are fairly live in the third album. You know, I think it will be a progression from Harlequin Dream, but I think songwriting-wise it felt a bit more natural, we’ve done a bit more together. I guess one of the main constraints with the record was that it was all done live in the studio – even Dave’s vocals. So I guess it did constrain us in that way but I think that was a big positive in the outcome sounding a lot more like us.
Recording the whole thing live is a really interesting approach to recording, and something you said you guys have always wanted to do. Was there anything specific holding you back? Do you just now feel confident enough to take that approach?
Yeah, it was maybe a bit of fear and insecurity, you’re not really supposed to say that, but there was probably a little bit of that holding us back. A lot of people these days, a lot of producers and a lot of engineers, they record straight to digital… Sorry, I’ve got Dave distracting me, he’s eating cake and shoving it into my mouth, trying to distract me, which he’s doing a good job at!
But I guess, because of that, you lose some of that live energy that you may have had live at a gig or a radio performance, so you try to recreate that but you can’t. On the record, there were no computers involved, it was all done to a tape machine. If you stuff up, you stuff up. Ethan [Johns], our producer, he was the one that could tell if those stuff ups were kinda cool, or if we had to do it again. So there was a big trust thing for us, putting that into his hands and saying ‘well Ethan yeah, we trust you and we’re gonna have a crack at this’. He gave us the confidence to say, you guys can do this, you’re a live band, that’s who you are. It was a wonderful experience.
And apparently Ethan performed with you on the album as well – can you tell us a little about that? Did his parts make it to the album?
Yeah, he kind of felt like a bit of a sixth band member. He’d say to us ‘guys do you mind if I pick up an instrument here?’ and he’d grab something, maybe a keyboard part, or a guitar part. Even on percussion, he played on one track and he played a second drum kit on another track live. For those songs it made it really special, and it really did provide some glue that brought the songs together. He’s very much only a ‘feel’ guy, he only plays what he feels. And if there’s nothing he’s feeling he wouldn’t play anything, he wasn’t just trying to get on the record. It was very much case by case, it was very cool, I love what he did.
Is the record meant to resemble your live shows?
Yes! Yes. The only problem is we won’t have Ethan there. But yeah, it was wild, it felt so natural sitting in the studio, and it wasn’t until we realised that it was because we were set up like a live show that it made sense to us.
Do you feel like you’re taking a bigger risk in being instinctive in your approach while recording?
Yeah absolutely. But I think you have to, if you choose to do a record this way. It’s not going to sound as perfect and pristine and produced as a lot of other records these days. But that’s not what we wanted, we wanted it to be able to convey the emotion of what we’re doing as musicians and songwriters through our music. And I think a lot of that is really stripped from songs when it’s all perfect and knocked into line. It has energy taken out of it. It was a risk, but one that we’re really glad we took, and we’re prepared to do it again.
That organic style of recording seems to be getting popular again. Do you think Australia was just late to the game or was there a catalyst?
I don’t think so, I mean, I think us like many people around the world are very influenced by our parents and what they listened to. This is the way a lot of classic records well, all classic records were done. People just got into a room and played live. And what they recorded, was the album. I think we’re going back to that. We just want to go back to sounding like a band playing songs. I can’t comment on how other people record, but I think there is a hunger for that reality in music now.
I read that this was the first record in which you all shouldered the songwriting duties, what was that like doing it for the first time?
I think we’ve always had a hand on it anyway, all five of us. I guess in this case, some of the songs were started together. It didn’t feel massively different, those songs felt really special but I think it was more of an evolution in our relationship as band members, more than anything. We went away on writing trips and were able to start songs together but still, the process didn’t feel massively different to me, because you know, Dave still has a massive part to play. He still has to sing the songs and melodies wise, he has a right on those. I think it’s just been a nice evolution as band members together, and yet it was just a lot of fun.
For any upcoming live shows, how do you think the new stuff will fit in with the old? Will you play primarily new material?
I think it will, the old stuff works live. The stuff off Moonfire was probably the most difficult to translate live, but it still works. Harlequin Dream, I think we were halfway between Moonfire and where we are now. We still played some live takes, but I think it was a very different fit. And I think this is just, well to be honest, I just think it’s better. And I think it will work with the old stuff, it’s just an improvement and an evolution. And I’m still proud of the last two records! I’m just especially proud of this one.
Is there less follow-up pressure now that it’s your third try? Or is it harder because you recorded it all live?
You know that’s funny, you’re the first person to ask me that question! Yeah, there’s heaps less pressure. When we made our first record everyone was asking ‘oh do you feel pressured because it’s your first record?’ and I thought about it and was like… yeah, I do. But we feel great about this, and I guess because we have a lot of confidence in the record, and we had so much fun making it, it’s nice to talk about and it’s easy to not feel any pressure at all about it.
Considering there are so many different platforms bands can use to get their name out there, how do you think the internet has helped push your name out there to your audience?
I think social media’s massive these days. I think it’s a good thing, because people can have access to music and not just be told by commercial radio what to listen to and how to consume music. People are smart, and people now what they like, and they’ll discover it. We’re just one in a massive pool of artists trying to create, and I think we rely on those people that want to find good music and share good music discovering us. And part of that involves being active in social media and being there and interacting directly with people. But I still think there’s a place for radio, having said that, we’re very grateful to have been played on radio. I just think people have become more educated, and as a result, there’s far more room to move towards social media.
There’s a lot of stigma involved in streaming services, like Spotify, at the moment, do you reckon it helps or hinders bands of your calibre? Or bands that are smaller than your own?
Anyone that hears our music is a positive. We just want people to enjoy it and hopefully come along to a live show. The reality is, record companies make the lion’s share of profits from albums anyway. So I don’t care, if we make nothing from it. I probably shouldn’t be saying this, but I just don’t care if we make nothing from our records. People wanna come along and spend some time listening to us live and chat to us after, you know, come out and see live music, I think that’s a positive. I don’t care if they get the music from Spotify, or if they buy it through iTunes, or if they buy it physically at the store. As long as they can consume it and enjoy it, and we can have that relationship directly with music listeners, that’s what I think’s important.
What’s on for you guys in the next few months in terms of touring? I know you’re going to the UK shortly, do you have any Australian plans for us?
Yeah, look I think Australia’s going to be happy like, early next year. I’m not too sure exactly when that’s going to be but it will be early next year. Like you say, there’s the UK and Europe early next year and then we’re heading to the states early November.
And I have one last question for you- if you had to summarize Limit of Love in a word, what would that be?
Fun. It’s a lot of fun.
Limit of Love is released on October 9
[youtube http://www.youtube.com/watch?v=EapikNusv58&w=560&h=315]
BOY & BEAR – LIMIT OF LOVE TOUR
FRI 22 JAN | ODEON THEATRE, HOBART TAS
Tickets available from www.oztix.com.au | 1300 762 545 | All Oztix Outlets
SAT 23 JAN | FESTIVAL HALL, MELBOURNE VIC
Tickets available from www.ticketmaster.com.au | 136 100 | All Ticketmaster Outlets
FRI 29 JAN | THEBARTON THEATRE, ADELAIDE SA
Tickets available from www.ticketmaster.com.au | 136 100 | All Ticketmaster Outlets
SAT 30 JAN | RED HILL AUDITORIUM, PERTH WA
Tickets available from www.oztix.com.au | 1300 762 545 | All Oztix Outlets
FRI 12 FEB | HORDERN PAVILION, SYDNEY NSW
Tickets available from www.ticketek.com.au | 132 849 | All Ticketek Outlets
SAT 13 FEB | RIVERSTAGE, BRISBANE QLD
Tickets available from www.ticketmaster.com.au | 136 100 | All Ticketmaster Outlets
It’s hard to discuss dance music’s growing prominence in the mainstream without mentioning Disclosure. 2013 saw the release of their debut album, Settle, which only took a few weeks to completely overtake your radio and Spotify playlists. Brothers Guy and Howard Lawrence cultivated something that would be emulated (not always successfully) by many in the years following, UK garage music that translates into easy-listening pop, without the disregard of dignity or quality.
With their follow up album, Caracal to be dropped September 25th, there’s undoubtedly a lot of pressure for the duo to match what they’ve already done- or beat it.
An issue some may take with this album is its departure from dance music. As I’ve mentioned, Disclosure perfected the art of creating solid, mainstream, house music. House is what they’re good at, the area they excel in. Caracal, is not a house album. It’s easy to listen to and enjoyable, but when it finishes it will leave you wondering why you feel so flat, why your thirst isn’t satiated. While Settle was recognisable for its urgency, the freshness, those hooks that reel you in over and over again, Caracal has none of that. It’s depressing in a way, when you consider the duo’s rise to fame. Disclosure were able to bring all the sounds and textures of the techno scene to mainstream recognition, they brought the underground, overground- and have subsequently dropped it. It’s not news that the pair have never exactly embraced their house roots, many a time have they spoken of their need to bring ‘class and soul into the songwriting’. Being disappointed in Caracal not being a house album is conflicting, as they never claimed it would be.
If you push any preconceived ideas about the album to the side, it’s solid in its own right. While it’s not overtly exciting- it harbours some stand out tracks, like the fast-paced Hourglass and club track Bang That. The former utilises LionBabe’s neo-soul vocals to create a track that is exactly of the standard Diclosure has set for themselves, is easily a standout, and my personal favourite off the LP.
[youtube http://www.youtube.com/watch?v=m2z8Caoww44&w=560&h=315]
An aspect of the album that’s impossible to ignore is the plethora of big-name artists featured. Out of the fifteen-track album, a mere five tracks are without guest vocalists. Any other artist would be accused of overkill, but Disclosure make it work. Just. There are some standout features on this album, The Weeknd, for instance, on opening number Nocturnal, absolutely kills it. Nocturnal is the perfect blend of Disclosure’s distinct bass-lines, and The Weeknd’s Jackson-esque vocals. This could fit perfectly in Beauty Behind The Madness, but it’s perhaps better that it wasn’t, as it’s easily one of the better tracks on Caracal. Magnets, which was recorded with Lorde, is another stellar collaboration, as is Miguel‘s on the relaxed Good Intentions, and newcomer Kwabs on Willing & Able – a track that will hopefully bring some recognition to Kwabs’ astounding vocals.
Holding On, which has been on our radar for a while- is one of the only tracks on Caracal that resembles a house track. While Disclosure usually sounds slightly out of place in a club setting, unless remixed beyond recognition, but Holding On may be an exception. Gregory Porter‘s jazz vocals were the perfect pick for this track, they emit with ease the soul the duo aims for.
[youtube http://www.youtube.com/watch?v=gVN6FqPpChQ&w=560&h=315]
The pair also collaborate with Sam Smith again, on first single off the album, Omen. While Smith is arguably overvalued, he shines when working with the Lawrence brothers. There’s no denying that Smith has astounding vocals, but Disclosure give them a necessary boost. Omen is a grower; on first listen it pales in comparison to the song that made all three of their careers, Latch, but with time it becomes something considerably incredible.
[youtube http://www.youtube.com/watch?v=fB63ztKnGvo&w=560&h=315]
As Caracal moves, it also blends. While it sits still, it’s consistent in delivery. However, it doesn’t harbour the same switches between different styles and moods as its predecessor. While there’s no ‘woah!’ moments, it establishes itself as its own entity, an entity that at times, rests too heavily on the shoulders of their star power guests. With that said, if any single one of these tracks were played- you’d be able to recognise it as a Disclosure track in seconds. Caracal still uses the same synths, drum patterns, and relationship-centred lyricism. Caracal is still solid. It just doesn’t grab me in the same way.
It’s clear at this point, that Settle was the brothers breakthrough album in every sense of the word. It broke both them and their style into the mainstream, and now, rather than evolving they have focused on refining. Every element in Caracal is calculated, perfected and controlled. It’s a recipe for success, so why rock the boat?
Australian rock legends ACDC are set to release a new beer range, further embedding themselves in Australian culture. The band are teaming up with ALDI supermarkets for the beer range, in anticipation of their visit to Australia for their Rock Or Bust World Tour this coming November. This follows up from their successful wine range in 2011, and it’s Shiraz follow up in 2013.
It’s a unique type of merchandise, albeit one that a number of other musicians have branched out with in the past. Tool’s Maynard James Keenan has gone so far as to run his very own vineyard. This isn’t even the first time that ACDC have launched a drink brand – you can already purchase their own branded wine.
The beer will be available throughout New South Wales and Victorian stores, from the 30th of September. The beer is said to be a pale lager, available in a 568ml can, or a five litre keg with an integrated beer tap, brewed in Karlsberg, a German brewery.
An ALDI spokesperson said of the new range, “We’re very excited to celebrate AC/DC’s legendary rock status with the launch of AC/DC Beer in Australia.”
“The combination of great German Beer and Aussie Hard Rock just seems like a match made in heaven.”
Head to ALDI’s website if you’re keen, or Ticketek for tickets to their upcoming shows.
[youtube http://www.youtube.com/watch?v=v2AC41dglnM&w=420&h=315]