Thinkin Bout You - Frank Ocean - channel ORANGE (2012, Def Jam)

The past couple of years have been very kind to R&B music. Thanks to the likes of How To Dress Well and The Weeknd, R&B is experiencing a spike in popularity not seen since the ‘90s. Frank Ocean’s first mixtape nostalgia, ULTRA also came out last year, and was a big part in this R&B resurgence too. But where nostalgia, ULTRA was an important part of that rising wave, channel ORANGE is something more— it’s the pinnacle of the wave so far.

However, the first thing you’ll read about this album anywhere is not about the album itself. Rather, it will likely concern a small blog post Frank Ocean wrote a few weeks ago, talking about the first time he fell in love. This wouldn’t normally be worthy of topping every review written about the album, but what’s notable here is that it described him falling in love with another man. With that short blog post, he was one of the first big names in urban music to voluntarily and honestly talk about experiencing same-sex attraction, and furthermore was overwhelmingly lauded and embraced for it. So it’s an important note to be sure, but what is a shame is that all the talk is at danger of drowning out channel ORANGE itself. And it’s an album worth worth talking about.

R&B can easily bring to mind an elevator ride in a dusty, out-dated department store. How To Dress Well and The Weekend both moved R&B into the 21st century by incorporating a strong dubstep and bass music influence into their music. However, Ocean takes a different route. It’s definitely not dated, but his music sticks a lot closer to old-school R&B. Every now and then one of his piano lines will echo Stevie Wonder, or a guitar fill will mirror Prince.

No, what makes Frank Ocean’s music so fresh and vital are his lyrics. One minute they’re grippingly honest and candid, but then things will suddenly get much more opaque and intriguing. It’s this back and forth between honesty and shyness, boisterous club bangers and mellow tear jerkers, that makes channel ORANGE a must listen. Even if, like me, you originally find yourself slightly turned off by just how true Ocean sticks to his R&B roots, this is a captivating album that you can’t help but come back to, again and again.

(Source: airportmusic1)

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Goooo - TNGHT - TNGHT EP (2012, Warp/Lucky Me)

Individually, Lunice and Hudson Mohawke are both highly respected beat-makers. Hudson became youngest UK finalist ever in the DMC world DJ championships at the age of 15, but soon after decided to focus on producing instead, and is by now a jewel in the crown of Warp’s current signees, sporting a wealth of well received releases. Lunice may have entered the limelight a little later, but has made no less of a stir, peddling a singular blend of hip-hop, electronica and techno via high-energy shows all over North America. And to tie everything together, you’ll find productions from both on the latest mixtape from Azealia Banks.

But somewhere along the line, the pair decided to pool forces, creating a transatlantic, vowel-phobic production superduo called TNGHT. Understandably, there were some very high expectations placed on their debut self-titled EP, but thankfully they’ve managed to mostly live up to the hype. The EP’s biggest pitfall is the opening track Top Floor, a slightly unfinished sounding mash of vocoders that never quite gets off the ground. However, things seriously kick into gear with the next track, Goooo. The track merges a wonky synth riff with the delicious hip hop inspired beats that Lunice and Hudson Mohawke are renowned for, and the pair throw in some ravey pads for good measure. Higher Ground looses no momentum with its handclaps and impelling vocal hook, and Bugg’n sees the beats getting even thicker, before the album closes with the broken descending alarm tones of another EP highlight, Easy Easy. If you like what you hear, head over to Bleep, where you can buy and find a free stream preview of the EP.

From my new blog www.airportmusic.net

(Source: airportmusic1)

She Wants To Move (DFA Remix) - N*E*R*D - She Wants To Move (2004, Virgin)

While trawling through Spotify on my way to create a novelty playlist (“Songs which have dogs barking in them”, if you must know), I suddenly stumbled across a DFA remix that I was previously unaware of. I’m unsure how to describe just how elated this discovery made me, but the feeling is probably akin to a small child finding their Christmas present stash, or a labrador coming across food on a table, accidentally left at an accessible distance.

For those who are not in the know, DFA remixes are widely acclaimed as the best in the game. Yes, James Murphy and the people who gave you LCD Soundsystem also do awesome remixes. Indeed, one wonders where to place the line between ‘remix’ and ‘cover’, as DFA often put so much work into recording new bass lines, percussion tracks and whatnot that it’s hard to simply call it a ‘remix’. But one thing is certain: their remixes are all infectiously funky and irrepressibly danceable, without fail.

Their take on N*E*R*D’s 2004 hit She Wants To Move is no abberation. The new synth solos lend the track a distinct essence of house party, the fresh bass line doesn’t care in the slightest whether you previously felt like dancing or not, and if there was a lack of cowbell in the original, DFA have definitely turned that around now.

I’m God - Clams Casino - Instrumental Mixtape 2 (self-released, 2012)

New Jersey beatsmith Clams Casino has just released a second Instrumental Mixtape, available as a free download. Following on from last year’s highly acclaimed first volume, this iteration sees dub versions of tracks he produced for A$AP Rocky, Lil B, The Weeknd and more, as well as including a couple of remixes that he recently completed for the likes of Lana Del Rey and Washed Out. It’s also the first official release of his stunning Imogen Heap rework I’m God, easily one of his finest productions to date.