It’s that time of year again. Sydney is braced for a bevy of bright lights and brilliant live music, as the annual Vivid Sydney Festival draws ever closer. As snap happy photographers ready their cameras, music enthusiasts our now licking their lips at the talent attracted down under, with the lineup for the festival released today. Here are just a handful of the shows that are certified “must-sees”:
Bon Iver
Justin Vernon has reemerged from his musical slumber and is set to bring Bon Iver back to Australian shores as part of the CERCLE series of performances. With only three prior Sydney shows to his name, this is a must for any music fan that can appreciate lyricism and talent in it’s rawest form. Attendees at the Sydney Opera House will be the very first in the world to see his new show premiered, and considering it was only recently that we learnt Bon Iver wasn’t actually done and dusted, news of his return is among the greatest musical announcement we’ll see this year!
Where: Concert Hall (Opera House)
Date: 27-30 May
Tickets Here
https://www.youtube.com/watch?v=TWcyIpul8OE
Bjork
The eccentric songstress is headed back down under to showcase her newly developed Bjork Digital experience, an exhibition set to showcase: “five unique spaces that will premiere a new virtual reality project from the musician, alongside other collaborations with some of the finest filmmakers and programmers in the world.”
Bjork has recently dabbled with VR technologies, and her work looks set to culminate in Sydney as she tantalises our senses from all angles, an experience that is set to add yet another layer to the mystique of her performance, which will no doubt see the Australian live debut of music from her powerful, emotionally intense 2015 album Vulnicura.
Where: Carriageworks
Date: June 3
Tickets: Here
https://www.youtube.com/watch?v=MWHpoJT3qK4
Polica
When Justin Vernon labels you “the best band I’ve ever heard” you can be certain that you are in for an aural treat when Polica take to the stage to unleash their unique fusion of electronic sounds and indie pop. Returning to Australia after a three year hiatus, we can only imagine that Polica is ready to take Sydney by storm all over again, performing from their gorgeous new album United Crushers, which came out earlier this month and has garnered stellar reviews.
Where: Joan Sutherland Theatre (Opera House)
Date: June 3
Tickets: Here
https://www.youtube.com/watch?v=Rl03afAqeFQ
New Order
The presence of the synth-pop legends at Vivid is sure to set tongues-wagging, with the group set to celebrate 35 years with a “live retrospective” performance that will undoubtedly satisfy even the most hardcore fans. Rejoined by synth wizard Gillian Gilbert, New Order will introduce a brand new generation to the wonders of their discography.
Where: Concert Hall (Opera House)
Date: 1 June, 5 June
Tickets: Here
https://www.youtube.com/watch?v=ftJZomwDhxQ
Oneohtrix Point Never
Described by organisers a “rock-inspired rampage set to stun audiences with cutting synthesizers and decimating bass,” we can breathe easy knowing that we probably won’t be able to hear properly for the rest of the night after catching Oneohtrix Point Never’s Vivid Live performance. Fans can of course expect to hear much of OPN’s stellar 2015 release, Garden of Delete (his seventh album to date), a Nine Inch Nails-inspired industrial, experimental, eclectic electronic album that featured on many end of year best-of lists.
Where: Joan Sutherland Theatre (Opera House)
Date: May 29
Tickets: Here
https://www.youtube.com/watch?v=td-e4i2BL_Q
Anohni
Performing an Australian exclusive premiere as part of Vivid, the astounding talents of Anohni, leader of Antony and the Johnsons, in the form of what is sure to be a stunning live staging of her fifth studio album Hopelessness. Anohni was the first performer announced for this year’s festival, and will no doubt provide a unique and soulful experience, as the self described ‘electronic record with sharp teeth’ takes its rightful place on centre stage.
Where: Joan Sutherland Theatre (Opera House)
Dates: 27 May, 28 May, 30 May, 31 May
Tickets: Here
These are of course just some of the headliners we can expect to see as part of the festivities, with a range of other masterful talents on display:
Deafheaven
And now for something a little different: off the back of their incredible 2015 release New Bermuda, and completely unlike anything else on this bill, heavy-hitting Deafheaven are set to bring their thunderous walls of pristinely complex noise to the Opera House’s Joan Sutherland Theatre. While still a relatively new act in the scene, they have more than made their mark with their three studio records, and have quickly become one of the most important heavy bands in the world. This will be a simply breathtaking show – and for those who aren’t in Sydney, you can catch them on tour across the country.
Where: Joan Sutherland Theatre (Opera House)
Date: 2 Jun
Tickets: Here
https://www.youtube.com/watch?v=d4tyCchDlhM
Hiatus Kaiyote with Sampa The Great
One of the absolute highlights of Australian music circulating today, two-time grammy nominees Hiatus Kaiyote will be bringing their immense talent and impeccably well composed jazz-infused tunes to the Opera House’s main stage. In tow will be Sampa The Great, who, in a nutshell, is Australia’s Lauryn Hill (except hopefully she’ll be a little more frequent with her music output and less so with her tax fraud.) Sampa has toured with Hiatus Kaiyote before, and even remixed a full series of their tracks last year. Arguably two of the best Australian acts around today, this is not to be missed.
Where: Concert Hall (Opera House)
Date: 31 May
Tickets: Here
https://www.youtube.com/watch?v=p3tErZ5LUJY
This is only the beginning of the Vivid announcements, with a myriad venues including Oxford Art Factory, Newtown Social Club, Freda’s, The Lord Gladstone, The Basemen, The Argyle and plenty more set to hold events throughout the festival. Needless to say, we probably recommend taking a couple days to relax and get some sleep before it all kicks off, because there’s something happening every single night.
While the light show and musical performances attract much of the attention and allure of the festival, let’s not forget some of the brilliant minds that are heading our way to deliver “Game Changer” talks. Director extraordinaire Spike Jonze, the genius behind Being John Malkovich, Her, and Adapation will be joined by none other than Beau Willimon (of House of Cards fame) and Jenji Kohan (Orange is the New Black) to inspire and motivate attendees as they bestow their creative wisdom upon us, sharing their insightful gems and anecdotes as they recount their storied careers.
Indigenous Australia is also set to be highly recognised by organisers, with the Sydney Opera House set to be lit up with the works of six prominent Indigenous artists, in a work entitled Songlines.
With 2015 numbers soaring to heights of almost 2 million attendees, we can be sure that this stellar lineup will see 2016 break new ground and further establish Vivid as one of the world’s most stellar culminations of culture and art.
Head to Vivid’s official website for more
Image: Vivid
CyHi the Prynce is an oft-overlooked and forgotten member of G.O.O.D Music. From the outside looking in, it might seem as if G.O.O.D is moving on to a new generation, snapping up the likes of Futu…I mean Desiigner and thrusting them right into the spotlight; centre stage on Kanye West‘s latest project The Life of Pablo.
In reality however, it would seem that CyHi has just been biding his time, and he has now been given the green light by none other than Mr. West himself to piece his album together, with Yeezy to take the reins of production.
Hello everyone Me and @kanyewest are currently working on my album sorry 2 everyone but this is what I'm focused on pic.twitter.com/DA0ddBnC2I
— CYHI (@CyhiOfficial) March 16, 2016
This is of course an interesting turn of events, after the rapper was dissing Kanye late last year and announcing his own debut release. How times change.
This is not the first time that the two rappers have worked together of course, with CyHi delivering one of the standout verses on what is arguably Kanye’s musical triumph, My Beautiful Dark Twisted Fantasy, and leaving rap fans with one awesome story as to how the verse for So Appalled came about.
A known stickler for quality, Kanye’s production process for MBDTF is legendary. His self-imposed exile in Hawaii crafted one of the greatest albums in recent memory. CyHi, well aware of his mentor’s borderline psychotic quality control, snuck a verse onto a demo recording of So Appalled. Kanye heard the altered version, and the rest they say, is history.
Let’s hope that the two have put their differences aside and can craft another classic.
[youtube https://www.youtube.com/watch?v=GakW-mII8h8]
Image: XXL
You know what it time it is, it’s Thursday again already, and that means it’s time to enjoy the latest Wavy Wednesday courtesy of your favourite Harlem collective; A$AP Mob.
A$AP Rocky took to Twitter to unveil the latest duo of tracks, and to ensure fans that they were indeed “LIT”:
IM FEELING VERY WAVY TODAY ITS LIT https://t.co/9Okjb6mjSdpic.twitter.com/7ediSzL5Mm
— LORD FLACKO JODYE II (@asvpxrocky) March 16, 2016
A$AP Ant takes centre stage this week, after delivering a solid back up feature for A$AP Twelvyy on last week’s release, Again. This time Ant is teaming up with MMG’s own Fat Trel to bring us The Way It Go Pt. 2.
The track itself is definitely nothing spectacular, but Ant gives his best A$AP Ferg impression as he navigates his way through a trap inspired beat interwoven with some very tranquil sound effects. Fat Trel is surprisingly the standout here, and proves he can match it with the big boys, after seemingly disappearing into the shadows of Rick Ross‘ label.
Rocky, I normally agree with you, but I’m not too sure about just how lit this week’s tracks are.
It almost pains me to do this, but the second track that has been bestowed upon this week is by far the weakest showing of what has generally been a stellar month of releases. Vlone Thug, featuring Playboi Carti and UnoTheActivist shows exactly what happens when the A$AP Mob aren’t around to add to the overall vibe or lyrical delivery of the song. Whilst the beat is bearable, it is far too repetitive, and the flow of both rappers does little to conjure up many positive impressions.
Perhaps we have just been spoilt for choice as of late; we have been treated to appetite-wheting releases from Ferg, surprise appearances from Danny Brown, as well as some stellar features from Mob members who are often content to play second fiddle to the bigger names amongst the crew.
Here’s hoping that next week spells a return to form for our favourite weekly release.
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Image: XXL
The latest G.O.O.D Music signee, 18 year old rapper Desiigner, is quickly making a name for himself, but unfortunately for him it might be for all the wrong reasons.
After landing a dream debut on Kanye West‘s latest (but not really released yet) album The Life of Pablo, Desiigner quickly attracted comparisons to the reigning king of autotuned trap stylings, Future.
Original speculation was rife that Future was indeed featured on Father Stretch My Hands Pt. 2 on TLOP, a thought that was quickly put to rest by Kanye himself, who, clearly aware of the distinct sonic comparisons between the two artists, announced to a packed (and Kardashian-filled) Madison Square Garden that they were indeed listening to G.O.O.D’s latest rapper.
The fact that the track itself started with Metro Boomin‘s patented “If Young Metro don’t trust you I’m gon’ shoot you” tag (which is of course recited by Future himself) did little to detract attention.
Desiigner has now himself seemingly added fuel to the fire, debuting his latest track at SXSW. What is that track called you ask? Well, of course, it happens to be Pluto, which coincidentally is the name of an album that Future dropped all the way back in 2012.
Now, it is pretty common for musicians to share a song name or two; heck, even two albums might share the same name. But at this point, one would have to imagine that this is no longer coincidence.
In a recent interview with The Fader, Desiigner revealed that he himself was not too fussed by the noise that his introduction to the rap world had seemingly caused:
“I actually laugh at it, there’s nothing to get upset about,” he said. “I complement the man about his creativity. I think he’s a great artist and I do what I do; I just say we’re both blessed in our ways. May God just keep it positive and keep me positive, keep me straight.”
Desiigner seems content to embrace the comparisons; and can we really blame him? He’s 18, recently signed to one of the biggest and more prominent labels in the world, and he is making some serious coin.
New @LifeOfDesiigner: "Pluto" #FADERFORTConverse pic.twitter.com/qsTkqr14fO
— The FADER (@thefader) March 16, 2016
[youtube https://www.youtube.com/watch?v=lsJLLEwUYZM]
Image: Complex.
We are truly living in a crazy era of technology, and music lovers are clearly reaping the benefits. We have 18 year old rappers landing record deals thanks to Soundcloud formulas and algorithms, and now we have been further introduced to the concept of the 360 degree music video, courtesy of Run the Jewels.
The New York Times has officially unveiled its inaugural music issue, coincidentally releasing two 360 degree experiences as part of its VR application. One video provides a unique insight into the home studio of The Internet‘s own Syd Tha Kyd, showcasing just how intimate an experience with this new technology can be, and the ways we can get even closer to our favourite music personalities.
The other experience is of course a 360 visual interpretation of RTJ’s Crown, a dark, moody and melancholy track which is all but brought to life through the ability to engage with the visuals, be it a menacing weapon or a brooding weather phenomenon.
The thumping bass of the track is brought to life even further by the immersive nature of the video, and the 360 degree factor brings a previously non-existent replay-ability element to the art of the music video. Viewers are compelled and invited to replay VR videos, in case they have missed subtle easter eggs or startling visuals the first time around.
RTJ are not the first musicians to dabble with the new technology; we have recently seen The Tongue release their own 360 degree video for Never Going Down, whilst the always eccentric Bjork has herself embraced this new visual medium, launching her own virtual reality app.
The video for Crown in its entirety requires a VR headset such as Google Cardboard to enjoy in its full glory, but the snippet released on the Run The Jewels YouTube channel delivers the perfect taste of immersion.
[youtube https://www.youtube.com/watch?v=lNeReIpkies]
Image courtesy of Pitchfork.
Lil’ Dicky‘s stock just continues to rise. From aspiring comedian to up and coming rap sensation, the Philadelphia native has crafted his own lane in the comedic rap stakes, and he looks set to continue his euphoric ascension well into 2016.
Dicky has joined Snoop Dogg on the resident stoner’s YouTube series GGN, where serious conversation is intertwined with a backdrop of marijuana smoke and Snoop’s corny one-liners.
This is of course not the first time that the two have combined however, with Snoop delivering a rather unique feature on Dicky’s breakthrough release Professional Rapper. Snoop portrayed a music executive, as the two rap back and forth depicting a job interview with Dicky’s street-cred hung out to dry.
The mainstream attention exploded when Dicky released $ave Dat Money, which featured surprise appearances from none other than Fetty Wap and Rich Homie Quan. The video itself has garnered over 25 million views, and his established Dicky as a household name in hip-hop conversations.
Despite praising Dicky’s technical ability and lyricism, Snoop seemed most impressed at Dicky’s efforts to film the $ave Dat Money video for free, even poking fun at his own production crew.
“For free?! I need to work with you more more often you know how to shoot shit for free. I need to get rid of all these motherfuckers with these high ass prices…y’all shooting bullshit for a fee”
Dicky states that the moment he mentions to anyone his affiliation with Snoop Dogg, he always disappoints them by revealing that he has never lit one up with the king of the weed himself. Clearly he is hellbent on rectifying this situation, as the two immediately converse as to their favourite way to indulge in the sticky icky.
It’s clear that Dicky is utilising his connections to the fullest, and if he keeps chopping it up with legends of the West Coast, who knows what 2016 will have in store for him.
[youtube https://www.youtube.com/watch?v=aK4_JyDkET4]
Image courtesy of GQ.
America’s humpday cure is quickly becoming Australia’s Thursday treat. Wavy Wednesdays are back courtesy of the ASAP Mob, and the hits just keep on coming, this time in the form of new A$AP Ferg and A$AP Twelvyy. While this week’s releases might fail to match last week’s stellar Danny Brown cameo, it is without a doubt a strong showing from the Harlem collective.
Ferg delivers the standout of the releases, jumping on a track with A$AP Marty to deliver I Don’t Care. The track itself radiates a very 90’s-esque vibe, with heavy piano laden throughout. Ferg himself delivers a more laid back flow, taking a slower and more mellow approach, as opposed to his usual frenetic lyrical delivery. Marty delivers a solid hook and chorus, with all the elements only combining for yet another example as to why Ferg needs to deliver his upcoming project Always Strive And Prosper sooner rather than later, which is set to feature none other than Grimes, Future, Schoolboy Q and Missy Elliott among others.
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Again is the second track of the week, with Twelvyy bringing along another Mob member who is often resigned to the shadows; A$AP Ant. While both MC’s are often deemed to be hit or miss in their releases, on this occasion they have teamed up to deliver a solid track. The brooding and morbid beat proves to be the perfect backdrop for the duo’s lyrics:
“Get hit with the northern star
Wilin’ out with an open charge
Fuck a rat, I have court tomorrow
But I better get off tomorrow
‘Nough time to watch Oprah, y’all Man,
I’m young, black, and focused, dawg”
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A$AP Mob is continuing to set the standards high for weekly releases. Wednesday is fast becoming my favourite day of the week.
Image courtesy of Rap-Up.
thank you @Epic_Records, glad to be apart of the family! pic.twitter.com/aZQn2JCi1D
— Hollywood Rory. (@roryfresco) March 9, 2016
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Image courtesy of Epic Records/Pigeons and Planes.
2015 was undoubtedly the year of the hip-hop throwaway. Drake singlehandedly stayed afloat at the top of the rap game by producing two projects which were clearly not filled with A-grade material; If You’re Reading This It’s Too Late and the Future collaborative mix tape What A Time To Be Alive – and yet, as rap fans, we devoured each and every track.
While Drake was clearly saving his best for the 2016 release of Views From The 6, Kendrick Lamar was busy crafting one of the most influential rap albums of the past decade. To Pimp A Butterfly quickly became a cultural, social and political talking point and phenomenon; an album that thrust important racial issues into the forefront of society; an album that asserted Kendrick’s storytelling finesse and his ability to craft a sensory experience that captivates, questions and critiques us simultaneously.
Kendrick has stayed on his grind in the year since the release of his latest album, slowly coming to terms with his newfound status as the poster boy for social and political upheaval. Late night performances and Grammy appearances saw fans treated to several untitled tracks, with Kendrick showcasing what seems to be an unlimited library of smooth and soulful stylings. Now whether LeBron James was responsible for the release of the album or not, we have now been treated to untitled, unmastered.; and boy does it deliver.
What we have here is a collection of unnamed tracks which would not feel out of place amongst the original TPAB release. Clocking in at just over 35 minutes, these 8 tracks serve as just another example of the supreme talent that we are witness to, and are yet another reminder of the soul-infused, Funkadelic inspired avenue that K.Dot has taken his style. The tracks themselves are dated, and show just how long Kendrick has been tweaking his new sound since the release of the stellar good kid, M.A.A.D city.
Kendrick packs just about as much as humanly possible in terms of sound into the 35 minutes, also bringing some heavyweight features along for the ride, namely fellow Black Hippy member Jay Rock, and the sultry tones of one Cee Lo Green. Untitled 1 is a slow and steady start to proceedings, but Kendrick shows he is capable of bringing bars to any beat, and crafting a jazzy and soulful intro.
From the outset of Untitled 2, as “PIMP PIMP…Hooray” echoes out and the gritty saxophone begins to take hold, we just know we’re in for an audible treat. A beat switch up midway through the track sees Kendrick go to town, and embrace his newfound “Cornrow Kenny” status, which is sure to delight the Internet. The monotonous delivery instantly transforms the song into a much darker and sinister environment, a direct contrast to the gospel-like nature of the track’s first half.
Untitled 6 and 7 deliver two very contrasting sounds, the latter is backed by a futuristic and brooding beat, while Kendrick’s drawn out tones only add to the melancholy that he is so accustomed to portraying. Untitled 6 begins with what can only be described as elevator music vibes, but turns into a much more soulful and celebratory track, particularly as Cee Lo Green re-emerges from his mainstream musical hiatus to add the finishing touches to the song itself.
Whilst all of the tracks deliver their own piece of the overall puzzle, Untitled 5 is the real standout here; a lyrical explosion backed by a rhythmic bass and the crash of cymbals. Anna Wise delivers a haunting introduction to the track, before Kendrick and co (in the form of Jay Rock and Punch) deliver an introspective insight into the wicked ways of growing up against the backdrop of crime, alcoholism and conflict.
The album, like many of Kendrick’s projects before it, is fully appreciated when experienced front-to-back. Kendrick has mastered audible storytelling, and even in just over half an hour the Compton native is capable of providing an engrossing journey that somehow sonically does not seem out of place in a contemporary environment, despite the influence of yesteryear. There is no overarching poetry here that ties the pieces together, but that does not diminish from Kendrick’s ability to cast our imagination elsewhere.
One could at first dismiss this project as another example of hip-hop throwaways making their presence felt within mainstream hip-hop, however that would serve as a great disservice. Kendrick is still somehow able to conjure up an emotional attachment to the album; even in half an hour we can still FEEL the heart and soul behind the music. There is just something so satisfying about melding the hip-hop we love from today, and the technically brilliant and nostalgic sounds of the past. The thematic influence of TPAB is still just as present, as Kendrick often refers to the concept of the “Mortal Man” throughout the project.
Unexpected, untitled and unmastered; call it what you will, but this project is yet another sublime piece to add to the legendary discography that Kendrick is continuing to craft for himself. A further exploration into funk and soul, and a contrast of brooding and boastful beats serves to create another timeless piece of music for hip-hop fans and purists alike, and an album that will tide us over (almost) until the next time Kendrick graces us with his musical presence.
Wavy Wednesdays are swiftly becoming the hip-hophead’s humpday cure: each week we are guaranteed some firsthand exposure to fire in the form of the latest tracks, and some of course some hidden gems courtesy of everyone’s favourite New York rap collective, A$AP Mob.
Last week we were treated to an elusive Danny Brown verse on a remix of Hella Hoes, which funnily enough was the reason behind Brown’s Twitter rant back in 2014 where he dissed the crew for cutting his verse. Hindsight is a wonderful thing.
This week has further succeeded in providing a midweek reprieve, in the form of a new A$AP Ferg and Migos collaboration, Trap Anthem.
True to it’s name, the track delivers some sublime sonic stylings for those fiending few new trap music. Short and sweet (coming in at just over 2 and a half minutes) but high energy through and through, we are left to wonder why the self-proclaimed Trap Lord hasn’t collaborated with the ATL stalwarts more often, as Trap Anthem is undoubtedly a strong showing that only seeks to further whet the appetite for Ferg’s upcoming album, Always Strive and Prosper. The album itself is highly anticipated, and is slated for a release sometime in 2016.
As an aside, it is nice and refreshing to see a group make good on their weekly promise of music (are you paying attention G.O.O.D Music?)
If one track wasn’t enough to satisfy your Ferg cravings for this week, be sure to peep this killer cypher alongside Your Old Droog and Wiki.
Image courtesy of The Source.