C2C “F-U-Y-A”
Posted by Jessop.K on January 25th, 2012
not that my opinion should effect anyone else but, this time… i really cant give one. I dont know if i hate this, like it, think its cool, over done, amazing, stupid, what ever, I do think it is worth watching just for a few seconds. You make up your own mind, here it is.
Either these meds Im on have made me shit my brain out and forced craziness into my now empty brain hole or this is a music video for Santigold – Big Mouth song…
Im not sure why I like this… honestly I didnt think I would have. We get a lot of emails with NEW music sometimes its a little overwhelming and hard to listen to everything. This time I just decided to give it a listen. not sure if it was the name Ducky or maybe the photo of here standing over a bike…… But never the less check out the new single from the upcoming The Whether EP
Ducky aka Morgan Neiman, has a producer’s instinct and a powerful voice. She has been making music since she was 13 years old and has played alongside the likes of Japanther, Ninjasonik, Roxy Cottontail, Trouble Andrew and Action Bronson. Her latest release, The Whether EP out February 21, fearlessly explores the sinister side.
In this vein, Ducky recently released an introductory single “Killing Time” produced by Dingo Dog. The track is at once an ebullient Saturday afternoon love song and a subtle confession of its disintegration. Ducky matches a sophisticated pop sensibility to incisive vocals, addressing an absent “friend” with checked ferocity. Ducky’s feline vocal styling wraps lushly around the upbeat pop song “Killing Time,” On The Whether EP, Ducky fearlessly marries grinding beats with dark mantras of loss and resentment, her vocals sometimes feral, sometimes sirenlike. “Overdose” and “I Want to Die” remain understated and chilling, re-emerging ethereally on “Like Rain,” where she muses “All I want to see is where you’ll go without me” over a twisting give-and-take of synths. “Mouths Like Sidewinder Missles,” naturally closes the EP with building drums and ghostly redemptive melody ending unresolved.
Ducky’s songwriting and ethereal production boldly stand strong with equal parts virtuosity and pluck. Stay tuned for a new video coming soon!
The Street Muse Project has launched a Kickstarter for their latest endeavor which seeks to document street performances in Africa. Says Len Albright, urban sociologist and half of the team behind the project, “We see music as a way for people to form an emotional bond with another person. We see this emotional bond at the heart of cross-cultural learning and compassion. The history, politics, and humanitarian crises of many East and West African nations are very complex and challenging. Through the sharing of music and musicians’ stories, the Street Muse Project will offer all who participate a way to form an emotional bond and starting point for learning and engagement. The stories and music of individuals can lead us all to broader themes of humanity. We see value in the power of music to inspire learning.”
His collaborator on the project is dynamic multi-instrumentalist Gull (Nate Rappole). Over the past 5 years he has been performing as a street musician across the United States and Mexico and is known for the percussion project that involves the simultaneous playing of the drums and guitar. In the Spring of 2011, Nate was joined on a tour of the American South by Len Albright, who had recently completed a PhD in urban sociology. They discussed the possibility of interviewing musicians on the streets in other parts of the world and how the sharing of this could open pathways for creative politics and experiences across the globe. The Street Muse Project was born.
You can learn more about the project, watch Gull in action, and donate at the Street Muse Project Kickstarter. Gull will also be performing a special “virtual busking” countdown at iconic New York City spots in the hours leading up to the end of the Kickstarter campaign this Friday and Saturday. Keep track of him and watch him play via his Facebook page.
“It’s been way to long… months have past. Pounds have been lost… and deadlines have been f*cked over. Have no fear I bring tidings of great joy. A Big Ass Bag of White Labels for that arse!! In the sack we have… Flowsicka – Bathgate (Remember Him!!! Prod. By Just Blaze)
Follow Me Gangsta – 50 Cent
Gunz & Onez – Heltah Skeltah feat. Method Man
Headbanger (Ryde or Die) – Ruff Ryders
Jackin for Woahs – Black Rob
Money Talks – Lil Kim
Music (Remix) – Erick Sermon feat Keith Murray & Redman
Never Be The Same Again – Ghostface Killah
Shut Em Down – LL Cool J
T Shirt & Panties (Remix) – Adina Howard feat Cam’ron & Charlie Baltimore
Victory (Remix) -Notorious B.I.G.
Video – India Irie feat Supercat
Beautiful Megamix – Various Artists
Okay whats next? No worries the vinyl doesn’t stop. We’re gonna be transitioning from the White Labels to rare B- Sides. So eitherway i’m gonna keep diggin in the crates and giving you that vintage flav.”
Plow United
Sleepwalk: A Retrospective CD
Paper + Plastic Records
Release: 9/2011
Delaware’s Plow United began their relatively short career in 1992 as simply Plow. Within a few years, they received both an invitation to make records for West Chester, Pennsylvania’s Creep Records and a letter from a Baltimore-based band of the same name. The letter claimed rights to the name, and asked the Pennsylvania band to please find a new moniker. It was an offer they couldn’t refuse. By the release of 1995’s Plow United (Creep), Plow United had settled on a permanent name, and began touring with the likes of Good Riddance, Bouncing Souls, and At the Drive-In.
By 1997, the band turned down offers from major labels, and went on an indefinite hiatus. As the 2000s approached, Plow United showed no signs of reforming. However, this didn’t stop a few labels from cashing in releasing both new and old Plow material. In 1998 Creep Records released a third LP, Narcolepsy, which stood as an about face regarding the band’s earlier lighter, pop-punk approach. In 2000 Coolidge Records released a compilation of non-album tracks and other loose ends. In 2005, Blackout Records released a re-mastered version of 1996’s Goodnight Sellout with the self-titled record added on as a bonus. The Coolidge Records reissue did little else other than raise the ire of the band members who felt that the re-released record’s tone and packaging lacked inspiration. The band would have to wait until 2011, after having come to an agreement with Creep Record execs, to regain control over their material. After nearly 15 years of inactivity, Plow United emerged from—well, let’s be honest, complete fucking obscurity— to play Philadelphia’s Riot Fest on Penn’s Landing in the early fall of 2011. The event was accompanied by the release of a double album called Sleepwalk: A Retrospective (Paper + Plastic Records).
