Tag Archives: Philly

Download: Spank Rock ft. Santigold – “Car Song (Shabazz Palaces Remix)”


Click image to go buy the remix album at iTunes

Take one of music’s most exciting personalities, Philly-based, Baltimore-bred underground hip-hop impresario Spank Rock, and add the remixing work of some of the industry’s most interesting new voices and the result can be transcendent. This is certainly the case on the upcoming E.I.B.A.E.I.A.F.L (Remixes) EP out today, April 10th on Bad Blood Records.  The EP features remixes of standout tracks from Everything is Boring and Everyone is a Fucking Liar, including “Car Song,” which features genre-mashing renegade Santigold, and “Nasty,” featuring NOLA bounce godmother Big Freedia.

Download: Spank Rock ft. Santigold – “Car Song (Shabazz Palaces Remix)”

1.  Car Song (Shabazz Palaces Remix)

2.  DTFDADT (Sebastian Remix)

3.  Energy (Jan Driver Remix)

4.  Nasty feat. Big Freedia (Addison Groove Remix)

5.  Nasty feat. Big Freedia (Boys Noize Re-did SCNTST Remix)

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Straight From the Source: Free Energy’s “Bang Pop” Video

I touched on the subject of Free Energy and their video a couple times. I had also posted a blast informing you guys that the audition was at Urban Outfitters in Philly. Well, Pitchfork conducted an interview with the director of the video for “Bang Pop,” Josh Nussbaum.

Here’s a short excerpt, but click here for the entire article (and to watch the video).

Pitchfork: This is obviously a super fun video. Was it fun to make? Or was it hard to wrangle all those people to look like they were having fun?

JN: I kept promising myself that I was going to have fun making the video. This was the mantra that I would repeat every morning. By nighttime, I needed to remind myself that I should be having fun with it. It was a huge challenge. The casting was left until two or three days before the shoot. At a certain point, I just had to put the casting into God’s hands. We shot on the week of the ash cloud, so I lost a couple key members of my crew, and I ended up taking a lot of that responsibility on myself. The creative process of making the video was incredibly fun, but my personal expectations that are so high that I’m constantly having to remind myself to have a good time.

Pitchfork: Why are there so many bubbles in the video?

JN: The bubbles were a momentary inspiration in my first meeting with the production designer. I was just trying to intimidate him by creating an impossible list of requests. I probably said, “Oh, and of course there’s gotta be bubbles the whole time”. So I was very pleased when I showed up and there were bubbles the whole time. 

Pitchfork: In the hallway scene, Evan Wells, the band’s bass player, is doing all these wheelchair tricks. How many times did he fall down?

JN: Evan is just really good. In fact, he didn’t fall once. Half of my directions in that scene were to him because he was at the front of the scene. I really wanted him to fall; I thought that would be great for the video. Unfortunately, that didn’t happen. He did give it his all, he just didn’t fall. The wheelchair was supposed to have fireworks shooting off it, but there were a lot of small to large pyrotechnics– as well as all sorts of nudity and drug references– that were at some point slated for the script, but fell by the wayside.

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Rich Hil featuring Kid Cudi

For the past two years, 19-year old Rich Hil has been putting in 72-hour work weeks, releasing a seemingly limitless—700 and counting—supply of songs, freestyles, and mixtapes for his devoted fanbase. Drawing inspiration from Dylan and Hendrix as much as hip-hop, the artist behind the Lost Limos mixtape series and his upcoming full length melds stream-of-consciousness, improvisational rhymes to woozy, blissed-out beats, creating a sound immersed in hip-hop but still rooted in the musician’s psychedelic, singer-songwriter leanings. It’s this idiosyncratic style that Hil has dubbed “hippie,” a mix of vintage beats, unabashed tributes to drug culture, and a laid back flow that rejects the gaudy materialism of certain emcees in lieu of a more thoughtful, back-to-basics lifestyle.

Growing up in Glenville, CT, and being Tommy Hilfiger’s son, Hil’s penchant for individuality manifested itself at an early age. “I’ve always been the black sheep of the family and the whole area,” he admits. The precocious songwriter began writing and recording tracks at 13, learning swagger from Philly rap stalwarts like Beanie Sigel and Philly’s Most Wanted and prolificacy from 50 Cent. “I would just lock myself in a room for hours studying the same rap until I felt I knew it,” recalls Hil.

He quickly got the attention of über-producer Swizz Beatz, who produced tracks for Hil’s first group and took him on his first tour. It was as hype man for the producer, and as a performer in his own right, that Hil learned the performance side of the game, a trait that has metastasized into the performer’s current setup with a blistering live band.

The maturation process has been quick since those early days. Nowadays, Hil hasn’t touched a pen for a while, allowing the music and his instinct to decide the topic, flow and vocal melody. The result is a steady barrage of music that incorporates Hil’s mix of raspy crooning and rapping with an emotional, sometimes brutal, directness that recalls the best of Lil Wayne. “I don’t talk about money, fame or power,” admits the emcee. “It’s strictly vulnerability and the fun I have is stuff I take to ease that vulnerability.”

This atypical candor has endeared him to countless followers—some of whom supply Hil with beats via his Twitter page—including Atlanta producer Don Cannon and rapper Kid Cudi, who has collaborated with Hil on numerous tracks. “The fans that I have will never leave me. They’re cult hippie followers,” says Hil. “It’s a movement because my fans feel like they know me because there’s so much sincere material I’ve put out.”

The movement in question is Limo Life Records—Living is Musically Outrageous—on which Rich and Philly’s Most Wanted’s Boo Bonic make up the core components. “Limos are wack, but some people think it’s the coolest thing in the world,” explains Hil. “It’s a metaphor for the uncool that seems cool. I’m a lonely, depressed high-anxiety paranoid kid that’s telling you my story. But I said to myself, ‘You know how I’m gonna be the best? I’m just gonna be me. 100%. So anything that comes to my head, I’m letting people know.'”

If you haven’t heard Hil’s stuff yet, it is a MUST. I am in love with it.

Click here to watch the video for “Where Did They Come From.” The clip was shot guerilla style in Las Vegas and was inspired by The Hangover, Puffy & Mase’s video for “Can’t Nobody Hold Me Down,” and Fear & Loathing in Las Vegas. Very cool.

Click here to listen to his track with Kid Cudi, “Won’t You Tell Me.” It’s a fantastic song — and when you’re done listening to it, click here to listen to track “O’s,” which might be my favorite out of them all.

ANDDDDDD…just for fun — here’s the link to a song called “Fuck Ed Hardy” with Rich Hil, Dirt Nasty and Andy Milonakis. HA!

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New Diplo!


If you’re a fan of Diplo like me, then you were probably pretty happy when his new album came out earlier this month.

Diplo is DJ Wes Pentz who is originally from Philly (which I did not know). For his debut only being 5 years ago, Diplo is a pretty big influence in the remixing world. There aren’t too many of his works that I don’t like. That’s why I was just a tad disappointed with his newest release Decent Work for Decent Play.

Coming in with 12 songs (good), the album is only about 41 minutes long (not good)! Usually we’re used to having an average of 5 minute long tracks especially in this genre. But, some of them are just past the 2 minute mark. The first track off the album is Diplo’s “Newsflash” featuring Sandra Melody. I really like the song; does anyone remember Super Mario Bros. for Nintendo? The very original? And the scenes where you had to go through the castle to find and defeat Koopa? That’s what this song reminds me of. Good stuff.

Second, is a Spank Rock song. “Put that Pussy on me” is a decent song. I recognized it from Girl Talk using parts of it in one of his tracks on his newest album Feed the Animals.

I don’t know for sure what it is about the third song, but I love it. It’s all Diplo himself and the name of the song is “200”. That’s that.

Samim’s “Heater” is one of those happy dance songs. I’d already heard it on my Sirius one day, and had it downloaded. So, it was nice to know that I already knew one of the tracks.

There’s a couple I could go without hearing more than a few times, though. “Way More Brazil” starts out awesome, but loses it’s shine. “Smash a Kangaroo” is another one I am not super into. Interesting title though, huh? I like that. Pretty much, when you listen to the album, the first half gets you going and loving it. Then, the second part kind of slows you down to where you’re half moving, and staring at the speakers wondering, “What’s going on?!”

I’d also like to add that “Baby” featuring Vybz Kartel has some more Nintendo sounds in it. This time, it sounds like Super Mario Bros. 3. Particularly when Mario is underwater. Am I imagining this? Am I subconsciously longing for my childhood days of playing old-school Nintendo for hours? I don’t think so…but maybe Diplo is?!

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