Despite our generation’s love for all things vintage, it takes dedication to really educate yourself and have good knowledge of the legends who shaped the artists we to listen to today. That’s why we see so much sampling and cover work these days: it’s because a lot of stuff out today just isn’t as genuine as it was a generation ago. I’ve lost count of the number of times I’ve gotten really into a song – thinking it was an original work – only to find out that the melody or a major passage was cut from a classic Stevie Wonder track, for example. Last year, we were treated to The Bird and The Bee’s tribute album to Hall & Oates, Interpreting the Masters Vol. 1: A Tribute to Daryl Hall & John Oates. The LA-based synth-pop duo took on the arduous task of covering the kings of rock and soul and actually did a great job. It’s pretty hard to screw up Hall & Oates, but they pulled it off with just enough of their own artistic flare without rocking the proverbial boat. My favourite pick goes to “Heard It On The Radio,” but really, there are no losers here.
I’ve tried to wrap my head around why I dig this song so much, but I can’t figure it out. I’ve abandoned any technical breakdown of the song and landed on realizing Chris Brown has the swag and the tools to make almost anything good. As shown with the breakaway success of “Deuces,” I feel like the dude is one or two hits away from the R&B throne. With “Shit Got Damn,” C-Breezy unites with another young stud in Big Sean to create a super chilled anti-banger. There’s nothing flashy or instantly addictive about the track, but it just flows and is easy to pick up and keep on repeat for hours.
As I had said when I wrote about “Black Sheep” in a previous Single Life post, I can’t get enough of this Metric song. It’s vintage Metric, fuelled Emily Haines’ intoxicating vocals. I particularly love the clock-like build-up and spastic guitars that accompany the main verses. I could also be biased because the song appeared (in its studio version glory) in “Scott Pilgrim vs. The World,” one of my favourite movies of last year. In any case, it’s a staple for any Metric or indie pop fan. Grab it off the Scott Pilgrim soundtrack.
Not much was known about Tennis when “Marathon” splashed into the blogosphere during late Spring. Even still, not much is known about the husband-and-wife duo beyond the inspiration for their music (their 7-month sailing excursion along the Eastern Seaboard). As “Marathon” would indicate, Tennis’ music is heavily nostalgic, drawn from their travelling experiences and a love soda shop pop. It’s a snappy little number that’ll have you tapping your toes and bobbing your head, for sure.
YES - a glitchy, 8-bit-style instrumental laced by four of my favourite rappers.... and Swizz Beatz. Thankfully Swizzy only does the hook and lets the actual emcees do the spitting. Everyone raves over “Beamer, Benz or Bentley,” but I would call this Banks’ best offering since his work on the original Hunger For More. It’s almost overwhelming how everyone absolutely slays the beat. There are too many punchlines to quote, but Pusha and Fab take the cake for me.
Gotta show love for that hometown talent. 2011 could be the year Dan Bejar (aka Destroyer) finally gets his props. Combining a distinctly hushed West Coast vibe with smooth jazz horns, “Chinatown” just makes you feel like daydreaming about something or someone. I would play this on repeat as I laid on a grassy field to cloud-watch on a clear summer day. How’s that for imagery?
Before this countdown is through, you’ll have seen Sleigh Bells’ name pop up at least once or twice more. Their debut album, Treats, was as startling an introduction as I’ve seen in recent years. Harnessing the power of internet, the noise pop duo ran an open contest for fans to remix the popular single, “Run The Heart.” The Dorian Remix Club Edit wasn’t #1 when I checked things out, but it was definitely my favourite (most of the vote-getters were really hard dub-step mixes). The Dorian Remix is done in a typical house/dance style, highlighted by a nice progressive pattern that hits in waves. I’d get up from my seat instantly if I ever heard this at a party.
Yes, “Maps” is a really old song, but its inclusion here is due to some fantastic work by Russian remixer Cosmonaut Grechko. I don’t remember where I stumbled upon this mix, but it’s sick. It totally reinvents the song, which is always dangerous when you’re dealing with an indie classic. For that, the good Cosmonaut should be commended. He’s actually got some other good mixes too floating around his Soundcloud. Check him out!
The J. Cole train picked up some serious steam in 2010, and even though he hasn’t dropped his first studio album, Roc Nation’s prized rookie kept plenty busy in the past year. On his much-hyped mixtape, Friday Night Lights, Cole opens with the Erykah Badu-sampling “Too Deep for the Intro.” I’ve always had mad love for the guy for doing his own beats and writing his own rhymes. No doubt he’s skilled and “Too Deep...” set the precedent for the entire mixtape. Thankfully, he delivered from start to end.
If you heard this kind of bass thumping down your street, you’d swear that was some really shitty southern rap putting out that level of oomph. Enter Girl Unit, whose unique blend of hip-hop and house sensibilities forged an absolute heater in “Wut.” Driven by a couple of simple female vocal loops, the track crests several times across its 7-minute duration and is a joy to listen to over and over. For a track that only really features 4 or 5 total words, it never seems to get boring. I’m not sure if this is anything you’d hear on the dance floor or even at a really music-snobby party, but it’s definitely a great choice for when you need a boost (eg. the drive home from work).
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