It's 78 minutes of beats made from African music. In other words, you should buy it.
Tuesday, March 30, 2010
Beat Konducta In Africa Review
It's 78 minutes of beats made from African music. In other words, you should buy it.
Kaigen21Meiso Review
I reviewed the new Kaigen21Meiso release, Root Is the New Leaf, for RapReviews this week. It's avant hip hop in Japanese. It gave me a migraine, but I'm not a fan of experimental hip hop. This dude liked it. You can listen for yourself here.
Wednesday, March 24, 2010
Madlib Medicine Show #2 Review
I reviewed Madlib's Medicine Show #2: Flight to Brazil this week at RapReviews.
It's a mix of Brazilian music, mostly jazz. A little too mellow, but still worth a listen.
Here's a clip of him making a beat from a Brazilian record:
It's a mix of Brazilian music, mostly jazz. A little too mellow, but still worth a listen.
Here's a clip of him making a beat from a Brazilian record:
Z-Man Review
I reviewed Z-Man's Show Up, Shut Up, and Rap EP for RapReviews two weeks ago.
You can listen to it and download it for free at Machete Vox's site, here. And you should, because it rules.
You can listen to it and download it for free at Machete Vox's site, here. And you should, because it rules.
Tuesday, March 09, 2010
Byron Lee and the Dragonaires Revew
Originally posted on Blogcritics.org
Byron Lee and the Dragonaires
The Man and His Music
VP Records
Byron Lee holds a conflicted place in Jamaican music history. On one hand, he and his band, the Dragonaires, are credited with bringing ska to the outside world. As the backing band at the 1964 New York World's Fair, Lee and his band were most Americans' and Europeans' first introduction the the infectious sounds coming from Jamaica. On the other hand, Lee's contemporaries in the reggae and ska scene looked down upon him as being too uptown and posh, disconnected from the dance hall culture that was the focal point of Jamaican music. In some ways Lee is a Pat Boone figure, someone who brought an underground music form to a larger audience, but is criticized with sanitizing it in the process.
The new two-disc set, The Man and His Music, is a powerful defense of Byron Lee's musical legacy. True, Byron Lee's ska isn't as raw or earthy as the music produced by people like Desmond Dekker, Prince Buster, or the Skatalites. However, the uptown gloss that earned him scorn by his contemporaries has aged well. There is a breezy tropicalia feel to Lee's early work. The Dragonaires, while polished, were also talented musicians, and they captured the energy and excitement that makes early ska so timeless. Uptown or no, songs like "Soul Ska" and "Holly Holy" deserve a place among the canon of classic ska tracks.
Ska was only one of Byron Lee's many phases, however. He also experimented with rocksteady, and once he realized that the ska crowd weren't too accepting of him, he began to play calypso. That phase is represented in this collection by songs like "Sandra" and "No Love No Money," both performed by The Mighty Sparrow. Lee dabbled in lounge music, offering island-tinged versions of country western and easy listening songs like "Only A Fool" and "Empty Chair." He also did some convincing reggae, as evidenced by "Sunday Coming" and "Thinking of You." Toots Hibbert turns up to do a version of "54/46 That's My Number" that proves that Byron Lee and his band could do more than passable roots reggae.
In the eighties the band changed directions yet again, this time playing soca, a dancier version of calypso. All of the album covers from this period feature half naked women on tropical beaches. This soca phase is heavily represented here with songs like "Dancehall Soca," "Soca Butterfly," and "Blackman Come Out To Party." The soca phase also reflects a change in production quality and instrumentation.
While his work from the sixties and seventies sounds warm if primitive, the soca music has the precise, coldly digital sound typical of eighties production. Digital instruments begin to replace analog ones, and the drummer is augmented or replaced with a drum machine. Lee had some of his biggest hits in his soca phase, but I found the songs less engaging than his earlier work, and I could have lived with one or two instead of seven or eight. His later easy listening songs would have been better left off the album altogether, and do nothing to support his musical legacy.
This two-disc, forty-eight song set collects the previously released "Essential Byron Lee along with a second disc. The discs aren't arranged chronologically, which would have been helpful for an artist whose career spanned so many decades. Instead, there are sometimes jarring contrasts of musical styles and production quality. Ska songs from the early sixties are sequenced next to glossy soca numbers from the eighties, which are followed by seventies reggae, which in turn are followed by easy listening from the nineties. It doesn't make for the smoothest listening experience. Even with the dubious sequencing, The Man and His Music is a comprehensive introduction to an artist who never quite got the respect he deserved, and a worthwhile listen for any fan of Jamaican ska.
Byron Lee and the Dragonaires
The Man and His Music
VP Records
Byron Lee holds a conflicted place in Jamaican music history. On one hand, he and his band, the Dragonaires, are credited with bringing ska to the outside world. As the backing band at the 1964 New York World's Fair, Lee and his band were most Americans' and Europeans' first introduction the the infectious sounds coming from Jamaica. On the other hand, Lee's contemporaries in the reggae and ska scene looked down upon him as being too uptown and posh, disconnected from the dance hall culture that was the focal point of Jamaican music. In some ways Lee is a Pat Boone figure, someone who brought an underground music form to a larger audience, but is criticized with sanitizing it in the process.
The new two-disc set, The Man and His Music, is a powerful defense of Byron Lee's musical legacy. True, Byron Lee's ska isn't as raw or earthy as the music produced by people like Desmond Dekker, Prince Buster, or the Skatalites. However, the uptown gloss that earned him scorn by his contemporaries has aged well. There is a breezy tropicalia feel to Lee's early work. The Dragonaires, while polished, were also talented musicians, and they captured the energy and excitement that makes early ska so timeless. Uptown or no, songs like "Soul Ska" and "Holly Holy" deserve a place among the canon of classic ska tracks.
Ska was only one of Byron Lee's many phases, however. He also experimented with rocksteady, and once he realized that the ska crowd weren't too accepting of him, he began to play calypso. That phase is represented in this collection by songs like "Sandra" and "No Love No Money," both performed by The Mighty Sparrow. Lee dabbled in lounge music, offering island-tinged versions of country western and easy listening songs like "Only A Fool" and "Empty Chair." He also did some convincing reggae, as evidenced by "Sunday Coming" and "Thinking of You." Toots Hibbert turns up to do a version of "54/46 That's My Number" that proves that Byron Lee and his band could do more than passable roots reggae.
In the eighties the band changed directions yet again, this time playing soca, a dancier version of calypso. All of the album covers from this period feature half naked women on tropical beaches. This soca phase is heavily represented here with songs like "Dancehall Soca," "Soca Butterfly," and "Blackman Come Out To Party." The soca phase also reflects a change in production quality and instrumentation.
While his work from the sixties and seventies sounds warm if primitive, the soca music has the precise, coldly digital sound typical of eighties production. Digital instruments begin to replace analog ones, and the drummer is augmented or replaced with a drum machine. Lee had some of his biggest hits in his soca phase, but I found the songs less engaging than his earlier work, and I could have lived with one or two instead of seven or eight. His later easy listening songs would have been better left off the album altogether, and do nothing to support his musical legacy.
This two-disc, forty-eight song set collects the previously released "Essential Byron Lee along with a second disc. The discs aren't arranged chronologically, which would have been helpful for an artist whose career spanned so many decades. Instead, there are sometimes jarring contrasts of musical styles and production quality. Ska songs from the early sixties are sequenced next to glossy soca numbers from the eighties, which are followed by seventies reggae, which in turn are followed by easy listening from the nineties. It doesn't make for the smoothest listening experience. Even with the dubious sequencing, The Man and His Music is a comprehensive introduction to an artist who never quite got the respect he deserved, and a worthwhile listen for any fan of Jamaican ska.
Count Bass D and DJ Pocket Review
I reviewed Count Bass D and DJ Pocket's In the Loop for RapReviews this week.
Count Bass D is an underground rapper/producer who has been around for about ten years. DJ pocket is his friend and collaborator. It reminded me of DOOM's work: hip hop beats over cheesy 80s R&B. Not brilliant, but good. Here's the video for "New Day."
Count Bass D is an underground rapper/producer who has been around for about ten years. DJ pocket is his friend and collaborator. It reminded me of DOOM's work: hip hop beats over cheesy 80s R&B. Not brilliant, but good. Here's the video for "New Day."
Thursday, March 04, 2010
Mann/Dillon Review
I reviewed Mann's album Hated for Rapreviews this week. Detroit street rap. Not really my thing, but I thought he was good at what he does. Hey look, strippers!
I also reviewed Dillon's Cupid's Revenge EP. It was a free download, so you should check it out.
Here it is, reenacted with a blow up doll.
I also reviewed Dillon's Cupid's Revenge EP. It was a free download, so you should check it out.
Here it is, reenacted with a blow up doll.
Alborosie Review
Originally published on Blogcritics.org
lborosie, aka Alberto D'Ascola, is a Sicilian-born reggae artist. He started performing reggae in the early nineties with the Reggae National Tickets, and has relocated to Kingston, Jamaica to be closer to the music and the home of rastafari culture. He released his debut solo album, Soul Pirate, in 2008, and a different version of this album,Escape from Babylon in 2009 via 101 Distribution. This version, with a longer title and slightly different tracklist, is being released via the venerated reggae label Greensleeves.
The idea of a Sicilian rasta isn't as big a stretch as it might initially seem. The most convincing Italian hip hop artists are from the South, so it makes sense that the South would produce convincing reggae artists as well. Sicilian is it's own language, only partially related to Italian, so learning a patois of English wouldn't have been hard for Alborosie, who grew up knowing two languages, and knowing the power that the unofficial language holds. Like Jamaica, Sicily is a relatively poor island, looked down upon by the mainland. Both islands are full of gangsters, both have strong cultural traditions, and both places understand what it is to struggle to survive.
The idea of a Sicilian rasta isn't as big a stretch as it might initially seem. The most convincing Italian hip hop artists are from the South, so it makes sense that the South would produce convincing reggae artists as well. Sicilian is it's own language, only partially related to Italian, so learning a patois of English wouldn't have been hard for Alborosie, who grew up knowing two languages, and knowing the power that the unofficial language holds. Like Jamaica, Sicily is a relatively poor island, looked down upon by the mainland. Both islands are full of gangsters, both have strong cultural traditions, and both places understand what it is to struggle to survive.
Alborosie is also the real deal in every respect. He's a rastafarian, he sings in unaccented Jamaican patois, and he understands the music and the culture. He's also a talented musician, playing many of the instruments on the album. He combines the musicality of roots reggae with the harder electronic edge of dancehall, and his voice switches between the bark of a dancehall toaster and the soulful singing of a roots artist. Songs like "Humbleness" and "Dung A Babylon" show off his gentler side, while "Blue Movie Boo" pulses with a frenetic rhythm.
He makes his connection to roots reggae explicit by sampling Horace Andy on "Money" and "No Cocaine," and in his lyrics, which are steeped in rastafari philosophy. He sings about rastafari concerns such as praising the herb ("No Cocaine), criticizing materialism ("Money"), and criticizing Babylon. At times it feels like Rasta 101, and most of this is turf that has been covered many times before by countless reggae artists. Even the title is generic rasta. That's not to say that it's not authentic or heartfelt, but it doesn't break much new ground, and feels cliche at times. One exception is "America," a different take on Babylon that calls out America for it's infractions against the world.
Escape from Babylon to the Kingdom of Zion may not have the most original lyrical content, but it is solid musically. Alborosie manages to stay true to classic reggae while incorporating modern elements. The result is 18 songs that have the soul and melody of roots reggae with the harder edge of dancehall, proving reggae's place in the 21st century.
Thursday, February 18, 2010
Die Antwoord
Die Antwoord are a South African rave/hip hop group. They are MC Ninja, who has many dodgy tattoos and talks like a tweaked out, gangsta spud from Trainspotting, and Yo-Landi, who looks like a hot alien from a post apocalyptic future. Kind of like tweaker hip hop. Their album is streaming at their website. I can't tell if it's brilliant or godawful, but I'm intrigued at least. They have a video for "The Ninja," but I prefer "ZefSide". High possibility it's all a joke. The production values are too high and they are too over-the-top for them to be the rednecks they claim to be. Maybe a joke, but a funny one.
Gil Scott-Heron: I'm New Here
Here's a video for "Me and The Devil," a reworking of the Robert Johnson classic:
The album is also full of spoken-word pieces, like this one:
Archie Bronson Outfit Review
(Originally posted on Blogcritics.org)
Archie Bronson Outfit
Coconut
Domino Records
Archie Bronson Outfit
Coconut
Domino Records
Coconut is the third album from British garage rock trio the Archie Bronson Outfit. It comes four years after their last album, the well-reviewed Derdang, Derdang, and six years after their debut, Fur.
The Archie Bronson Outfit mix the stripped-down blues and garage rock of bands like the White Stripes and the Kills with the twitchy angularity of post-punk bands like Wire and Gang of Four. Singer/guitarist Sam Windett sings with shaky uncertainty, sounding like he's had too much disappointment, too much heartache, and too much coffee. He's backed by the propulsive rhythm section of Dorian Hobday on bass and guitar, and Mark Cleveland on drums. Their sound is kinetic, paranoid, and slightly out of control. It's a formula that can be very engaging, but can also wear out its welcome.
They address this problem by bringing in former DFA member Tim Goldsworthy to produce. As part of DFA, Goldsworthy was responsible for the post-punk disco sounds of the Rapture and LCD Soundsystem, as well as the nouveau disco of Hercules & the Love Affair. He forces the Archie Bronson Outfit to reign in their garage rock and dabble in dance punk.
While opening track "Magnetic Warrior" is standard ABO, "Shark Tooth" adds disco drum and bass to the discordant guitar, and layers Windett's voice in reverb. "Hoola" goes even further down the dance road, offering a four-on-the-floor beat, and toning down the guitar noise. "Chunk" works a mellow groove, sounding a little like the Talking Heads in one of their funkier moods.
Lest any longtime ABO fans think the boys are going soft, they offer some raging garage punk on songs like "Wild Strawberries" and the cacophonous "You Have a Right to a Mountain Life/One Up On Yourself."
The album ends with the melodic, jangly "Run Gospel Singer," which could almost be a sweet song if it wasn't surrounded by so many creepy effects. Windett sounds like he's singing from the grave, and the band sound like they are accompanying him from the underworld. There is a similar effect to the psychedelic "Bite It and Believe," in which Windett seems to be singing from the bathroom outside of the studio.
Coconut sees the Archie Bronson Outfit expanding their sound pallet, getting out of their comfort zone, and growing as artists. Tim Goldsworthy helps the band beef up their sound without losing their identity, adding grooves without losing the anxiety and nervousness that make the band tick. The end result is an album that should please fans of the Archie Bronson Outfit as well as LCD Soundsystem fans impatient for James Murphy to finish the follow up to Sound of Silver.
Archie Bronson Outfit - Shark's Tooth on MUZU
The Archie Bronson Outfit mix the stripped-down blues and garage rock of bands like the White Stripes and the Kills with the twitchy angularity of post-punk bands like Wire and Gang of Four. Singer/guitarist Sam Windett sings with shaky uncertainty, sounding like he's had too much disappointment, too much heartache, and too much coffee. He's backed by the propulsive rhythm section of Dorian Hobday on bass and guitar, and Mark Cleveland on drums. Their sound is kinetic, paranoid, and slightly out of control. It's a formula that can be very engaging, but can also wear out its welcome.
They address this problem by bringing in former DFA member Tim Goldsworthy to produce. As part of DFA, Goldsworthy was responsible for the post-punk disco sounds of the Rapture and LCD Soundsystem, as well as the nouveau disco of Hercules & the Love Affair. He forces the Archie Bronson Outfit to reign in their garage rock and dabble in dance punk.
While opening track "Magnetic Warrior" is standard ABO, "Shark Tooth" adds disco drum and bass to the discordant guitar, and layers Windett's voice in reverb. "Hoola" goes even further down the dance road, offering a four-on-the-floor beat, and toning down the guitar noise. "Chunk" works a mellow groove, sounding a little like the Talking Heads in one of their funkier moods.
The album ends with the melodic, jangly "Run Gospel Singer," which could almost be a sweet song if it wasn't surrounded by so many creepy effects. Windett sounds like he's singing from the grave, and the band sound like they are accompanying him from the underworld. There is a similar effect to the psychedelic "Bite It and Believe," in which Windett seems to be singing from the bathroom outside of the studio.
Coconut sees the Archie Bronson Outfit expanding their sound pallet, getting out of their comfort zone, and growing as artists. Tim Goldsworthy helps the band beef up their sound without losing their identity, adding grooves without losing the anxiety and nervousness that make the band tick. The end result is an album that should please fans of the Archie Bronson Outfit as well as LCD Soundsystem fans impatient for James Murphy to finish the follow up to Sound of Silver.
Archie Bronson Outfit - Shark's Tooth on MUZU
Wednesday, February 10, 2010
Bekay and Green Lantern Reviews
I did two reviews for RapReviews this week. First up is a the Hunger Pains Remix EP from Brooklyn rapper Bekay
Here's a video with original versions of both songs on the album.
Also reviewed DJ Green Lantern's Myspace Invasion 6 mixtape. Meh, although the Lx Traq song was pretty awesome. What does Lx Traq even mean?
Here's a video with original versions of both songs on the album.
Also reviewed DJ Green Lantern's Myspace Invasion 6 mixtape. Meh, although the Lx Traq song was pretty awesome. What does Lx Traq even mean?
Saturday, February 06, 2010
Chosen Few Review
I reviewed Chosen Few's New World Symphony on RapReviews last week. They are a conscious crew from the Bay Area on the Hieroglyphics label.
They have a site at Wearechosenfew.com where you can stream some of their songs.
Worth a listen.
They have a site at Wearechosenfew.com where you can stream some of their songs.
Worth a listen.
Thursday, February 04, 2010
Toro Y Moi Review
Causers of This
Carpark Records
(Originally posted on Blogcritics)
Toro Y Moi is the alter ego of 23-year-old Chaz Bundick, who hails from Columbia, South Carolina. Causers of This is his debut album, although Toro Y Moi has existed as a bedroom project for ten years. It's chillwave in the vein of Neon Indian, and on paper at least both Bundick and Neon Indian's Adam Palomo have a lot in common. They both live in the South, they both have backgrounds in arts (Paloma studies film and Bundick studied graphic design), they are both influenced by 80s music and yet are too young to remember that decade, and they both embrace their retro/dated influences lovingly and without much irony.
Toro Y Moi offers a softer edge to Neon Indian's jagged drugginess. The music is a conglomeration of 80s R&B and new wave, 90s shoegaze, and a little Y2k hip hop. There is a sterile funkiness to Toro Y Moi that brings to mind the shoulder pads, Jheri curls, and drum machines of bands like the Time and Ready for Sheila, along with the angular hairdos and faux androgyny of the Human League and Flock of Seagulls. "Blessa," the first single, combines synth washes with a slinky keyboard groove as Bundick pines in the background "it's hard to let you in/it lets you know that I was hurt." "Minors" is dreamy synth-pop, like a computerized Slowdive. "Imprint After" is built around electric piano and Bundick's reaching falsetto.
"Lissoms" combines analog keyboards with a glitchy beat. "Fax Shadow" "Freak Love" and "Thanks Vision" go further in the glitchy direction, and lay bare Bundick's love of J Dilla. He chops up elements in the songs in the same way that Dilla chopped up samples on Donuts. "Low Shoulders" references the sounds of 80s, but gives them a healthy infusion of contemporary keyboard effects. It's all performed with sincerity, and you never get the feeling that Bundick is trading on cheap irony. As with Neon Indian, the dated sounds are tools and not punchlines.
Bundick's voice is fine when it's buried in the mix or manipulated with effects, but it's not strong enough to stand on its own, as it does on "Low Shoulders and "Causers of This." Listeners will find his voice either endearingly honest or amateurish. Either way it's not a dealbreaker, but it made me realize that there was probably a reason why Kevin Shields' voice was buried so deep on all of My Bloody Valentine's songs. Also, like My Bloody Valentine's Loveless, or the Cocteau Twins' music, Causers of This is more a collection of sounds and moods than actual songs. There is an ethereal quality the music that makes easy to enjoy but difficult to grasp. After multiple listens the songs began to bleed together, becoming one continuous blur rather than eleven distinct tracks.
Causers of This melds its diverse influences into a concoction that is dreamy, filled with longing, and balances the nostalgic sounds of analog synthesizers with ideas borrowed from contemporary electronic music and instrumental hip hop. It is also further proof that there just might be legs to this whole chillwave thing. At the very least Toro Y Moi are worth listening to, and make an enjoyable soundtrack to a lazy Sunday morning.
(Photo by Bryan Bush)
"Blessa"
Sunday, January 31, 2010
What I'm Listening To
I'm listening to a lot of stuff right now, including....
The new Beach House album, which is as good as everyone says it is.
The new Fucked Up album, a nice two-disc compilation of their singles.
Toro y Moi's album, which I'm reviewing this week.
Ornette Coleman's 1959 avant-garde jazz masterpiece, Shape of Jazz to Come. My fiance fuckin' hates this, which means it's pretty awesome and noisy.
The new Beach House album, which is as good as everyone says it is.
The new Fucked Up album, a nice two-disc compilation of their singles.
Toro y Moi's album, which I'm reviewing this week.
Ornette Coleman's 1959 avant-garde jazz masterpiece, Shape of Jazz to Come. My fiance fuckin' hates this, which means it's pretty awesome and noisy.
Wu vs. Beatles and King Tubby
I discovered two Wu remix projects last week. The first is the Wu Vs. the Beatles, in which the Clan's vocals are put over beats made from Beatles songs. It can be downloaded for free from Tea Sea Records. It's pretty good, although it's more rejiggering Beatles samples over beats rather than working a break from a Beatles song. I love the drum sound Ringo gets in songs like "Rain" or "Tax Man," and I wish someone would work those fat drums into a hip hop context.
I also stumbled upon King Tubby Vs. Wu-Tang: Macro Dubplates Vol. 1 at Radio Retaliation. This is Chris Macro's reworking of Wu-Tang rhymes over King Tubby dub songs. It doesn't always work, but when it does it's pretty awesome.
Here's the Wu's "C.R.E.A.M." over Tubby's dub of Horace Andy's "Money Money"
Recommended.
I also stumbled upon King Tubby Vs. Wu-Tang: Macro Dubplates Vol. 1 at Radio Retaliation. This is Chris Macro's reworking of Wu-Tang rhymes over King Tubby dub songs. It doesn't always work, but when it does it's pretty awesome.
Here's the Wu's "C.R.E.A.M." over Tubby's dub of Horace Andy's "Money Money"
Recommended.
Swift V Gaga
At the gym I go to, they are constantly playing Taylor Swift's "You Belong to Me" and Lady Gaga's "Bad Romance." Both are young female singers who write their own music and are selling a gajillion copies. Gaga is slated to be the new Madonna, and Swift is the new, what, Faith Hill meets Kelly Clarkson meets Miley Cyrus? I want to like Lady Gaga more, because she has such a unique look going for her. The problem is that her music is essentially shitty Euro club music, the same crap that dudes with gelled hair and tight shirts have been rocking out to since Eiffel 65.
Swift on the other hand has this whole other schtick going for her. She's supposed to be the girl next door, and "You Belong to Me" is all about how a guy at high school doesn't realize how great she is, because she's a nerdy girl next door. "She's in the cheer squad and I'm on the bleachers," she pines. The problem with that is, have you seen Taylor Swift? She's not a girl next door, unless you live next door to a gorgeous alien.
I actually kind of like "You Belong To Me." Well, like is a strong word, but it's not god-awful. It's sweet, highly polished country pop. From a beautiful alien. Word.
Swift on the other hand has this whole other schtick going for her. She's supposed to be the girl next door, and "You Belong to Me" is all about how a guy at high school doesn't realize how great she is, because she's a nerdy girl next door. "She's in the cheer squad and I'm on the bleachers," she pines. The problem with that is, have you seen Taylor Swift? She's not a girl next door, unless you live next door to a gorgeous alien.
I actually kind of like "You Belong To Me." Well, like is a strong word, but it's not god-awful. It's sweet, highly polished country pop. From a beautiful alien. Word.
Wednesday, January 27, 2010
Analyrical and DJ Signify Reviews
I reviewed Analyrical's First Date on RapReviews this week. He's a MN rapper who is backed by good production.
I also reviewed DJ Signify's Of Cities. Moody, cinematic instrumental hip hop, a little DJ Shadow, a little Kraftwerk, with some Aesop Rock for good measure. Recommended.
I also reviewed DJ Signify's Of Cities. Moody, cinematic instrumental hip hop, a little DJ Shadow, a little Kraftwerk, with some Aesop Rock for good measure. Recommended.
Wednesday, January 20, 2010
Leif Vollebekk Review
My review of Leif Vollebekk's Inland is up at Blogcritics.org now.
He's a Canadian singer/songwriter who does quirky folk ala Devendra Banhart.
Here he is playing "Don't Go Back to Klaksvik" live whilst a crowd talks over him. Nice to know that Canadian audiences are as noisy and disrespectful as Californian ones.
He's a Canadian singer/songwriter who does quirky folk ala Devendra Banhart.
Here he is playing "Don't Go Back to Klaksvik" live whilst a crowd talks over him. Nice to know that Canadian audiences are as noisy and disrespectful as Californian ones.
Tuesday, January 19, 2010
Aziz Ansari Review
I reviewed Aziz Ansari's new standup DVD for Blogcritics this week.
He's fucking hilarious. Here's one of the best moments from the video:
He's fucking hilarious. Here's one of the best moments from the video:
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