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I grew up listening to a lot of fucked-up indie rock and we really wanted this record to sound as fucked-up as we could make it without it being unlistenable. So we set it up for recording and we’d work on it every day, for four or five hours a day most weekdays. The only way to make it sound right was just to plug in every single microphone I could lay my hands on, so it acted like a fuzz pedal. Patrick Carney (drums): I’d bought this little digital Akai multi-track with my credit card and it sounded like shit. This wasn’t an artistic statement, this was literally who we were. We were heavily influenced by certain sounds and wore our influences on our sleeve. And most people realised that we weren’t copyists.
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That’s something we understood from the get-go. But for people for whom blues music is for life, I think there’s something deeper there. The idea of the blues is a turn-off for hipsters. We had nothing except a pure love of making music. We weren’t really aiming for anything, there was no great plan or aesthetic. The Keys’ debut, recorded before they’d even played a live show, drew on the raw power of the blues and the insouciant grooves of soul and hip-hop.ĭan Auerbach (vocals, guitar): It was just the sound of me and Pat and a four-track in his basement. Ever since we’ve started it’s never stopped building.” Interview: Rob Hughes
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We’re pretty blessed that things have worked out the way they have. “We’ve always left things relatively unadorned,” Auerbach tells Uncut, “so this is warts’n’all music.
#Blakroc album lyrics archive#
While I would highly recommend purchasing Siamese Soul to support local music and to peruse the booklet, you can download the entire album here.As Dan Auerbach and Patrick Carney prepare to release their new album, Turn Blue, on Monday, we delve back into the Uncut archive and take a look at this album by album from the Ohio duo (originally printed in January 2013, Take 188).
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Sublime Frequencies rewards the critical listener, and we need more focused scholarly/renegade world music presenters that embrace the complexity of global musical exchange.The songs on “Siamese Soul” are eclectic: at times hypnotic, at other times very funky, at all times revelatory for the traditional Western listener. The release is also paired with an in-depth historical booklet of the musical climate within which the tracks were created. So instead of, say, Putamayo’s “musical masala” of Asian Grooves, we have Siamese Soul, which collects Thai music created in the tradition of 60’s go-go and 70’s funk and soul. Sublime Frequencies Presents: Siamese Soul - Thai Pop Spectacular Volume 2Sublime Frequencies is easily my favorite local label, perhaps first and foremost because they’re impossible to get in contact with (their preferred method of communication is snail mail sent to their PO Box.) They periodically release compilations of global or “exotic” music, but unlike the hand-holdy Starbucks favorite, Putamayo, Sublime Frequencies uses its collections to piece together untold narratives that are rooted, localized, and contribute towards a greater understanding of musical diaspora and production. Sometimes you need some pop that’ll pop your bubble. I can see her singing this song–“I don’t need supernatural help/ I can fuck things up myself”–while rolling her eyes. She dips into shadowy nuances a la Fiona Apple but People Eating People has its own lively spunk about it. Johnston, formally of Mon Frere (who won the EMP Sound Off! competition in 2004), spins together piano ditties and wry lyrics that actually address some real shit while also showcasing her lovely vocal range. People Eating People, “Supernatural Help”: I wish I had Nouela Johnston around when I was in middle school and couldn’t match my adolescent rage with the prettily singing young women–the Michelle Branches and Vanessa Carletons and whatnot– that occupied my musical consciousness at the time. Stone cold poetry.īlakroc - On The Vista (feat. The Black Keys just get rhythm, and why hasn’t a hip-hop producer remixed “Just A Little Heat” yet? Finally, less than two weeks away from the official release date, Blakroc has leaked the track that justifies my “told you so.” This song is the perfect blur of genres, a spiraling gem with lots of decay, and I am adoring Mos Def’s lyricism and delivery in his Ecstatic period.
#Blakroc album lyrics full#
Mos Def: So I’ve been geeked about Blakroc– a project headed by Damon Dash that brings together The Black Keys and eleven luminary emcees (Ludacris, RZA, Pharoahe Monch, etc.) as features for a full album– since I happened upon their website a couple of months ago.