Spank Rock album on BoysNoize

 

Kool Disco MC Spank Rock aka Naeem Juwan, the harbinger of the party-rap explosion of the mid-2000s, is primed to drop the sophomore effort, Everything Is Boring And Everyone Is A Fucking Liar October 03rd on Boysnoize Records. With the help of executive producer Boys Noize (who produced the bulk of the album), Spank Rock has taken a brand new, intrepid direction since 2005's Yoyoyoyoyo. The latest in a series of collaborative projects (Bangers & Cash with Benny Blanco or Mobroder with Blu Jemz, for example), Everything Is Boring And Everyone Is A Fucking Liar finds Naeem reinvigorated and inspired; the change is palpable.  
 
As it's title might suggest, Everything Is Boring And Everyone Is A Fucking Liar is a deliberate departure from the sound of Yoyoyoyoyo; the forthcoming album is a polished, melodic effort informed as much by pop and rock as club rap and electro. This striking amalgam is exemplified wholly by "Energy", the lead single produced by Boys Noize. The frenetic drum line maintains a stuttered clip that finds Spank Rock sounding somewhere between David Byrne and Ike Turner. No less striking is the Santigold-assisted "Car Song"- more thoughtful dance rock colliding with electronic influences. Later, production from Sam Spiegel and XXXchange help to achieve a balance of sonic elements, tethering together pop and electronic traits respectively and allowing them to gel beneath Spank Rock's cadence.
 
Hedonism still makes itself present lyrically, as on "Hot Potato", or the wall-shaking Bounce anthem "Nasty" with Big Freedia, but the album's energetic sexuality is in good company alongside verses about industry frustration, love, and listless dancing, ultimately humanizing a musician as he metamorphoses into an artist. Everything Is Boring And Everyone Is A Fucking Liar is far-reaching topically yet fully committed to portraying Spank Rock's multi-faceted
brilliance.

Rodriguez Jr. debut album on mobilee

 

As an artist with already a lot of very successful material to his name, Rodriguez Jr.’s debut album Bittersweet is a highly anticipated release. There are in fact many reasons why people
should hold their breath for it - an impressive 11 track body of work that features some of
the well renowned and loved Rodriguez Jr. sonic traits, as well as a lot of new and
previously unchartered musical ground. It simultaneously presents techno, atmospheric dub,
hypnotic, melancholy and hands down hedonistic music, and with a focus on exploring textures
and moods, there is something here for everyone to get lost in.
Rodriguez Jr., aka Oliver Mateu, was originally introduced to music through radio in the south of
France, where he closely followed a selection of 80s bands, as well as forming a strong love for
synthesizers. It wasn’t long before he was inspired to start his own group with partner Giles
Escoffier ‘The Youngsters’, which quickly signed to Laurent Garnier’s F-Communications,
taking them to some of the biggest clubs and festivals around the world. After great success,
the project was put on hold and over the last five years Mateu has been given the space to
focus more on his solo work and finally the opportunity to create an album.
In spite of his French origins, both Olivier Mateu's artist name and productions lean more
towards his father's Spanish roots, with a Mediterranean warmth and party atmosphere often
coming to the fore. Bittersweet, however, embodies influences from all over the world. Inspired
during recent trips to Japan, Canada and Europe, the voyaging Rodriguez Jr. accompanied by
his laptop lay down ideas in hotel rooms after playing in clubs and absorbed the different
environments around him into his work. With each country creating a new experience, his
touring has played a big part in the variety of tracks that are presented here.
Whilst the spice of Bittersweet was captivated in far away places, the main body of the
production of the album was carried out in Mateu’s hidden away studio in Belgium, filled with
many loved pieces of analogue gear and synthesizers. Ranging from the Roland TR909, for a
classic house drum feel, to the Korg MS10 for dirtier sounds, and a selection of Roland
keyboards to choose from, “I am definitely a synth fetishist! Ahaha!” (Rodriguez Jr.). Each
has contributed in Rodriguez Jr.’s quest to create an artistic project of the highest quality and
creativity that he is capable of, with outstanding results. He has also drawn on the creative input
of two musicians who are featured in two of the tracks – And.Id playing his trumpet and Cari
Golden’s vocals.
A masterpiece that truly reflects the Rodriguez Jr. of today, it also offers us enough variety
and surprise to keep us inspired by this ever-evolving artist. Reflecting on the tracks Bittersweet
refers to the contradictory forces at play within the music – it may be beautiful and it may be
sweet – but be careful of the party animal it can unleash both in the creator and within all of you
present on the dancefloor!

Marius Våreid's album on Full Pupp

Norwegian producer/dj/remixer Marius Våreid’s work covers a wide range of musical styles, from balearic disco/house, NY garage to tropical jazz.Having worked with talents like Prins Thomas, Ray Mang, Dj Yellow, Rune Lindbaek, Bugge Wesseltoft, Pete Herbert and Ajello, Marius is always seeking
out new collaborators to push his music in new directions.
Marius started out as a breakdancer and a piano student. Listening to Herbie Hancock and the Rock
Steady Crew as well as Dizzy Gillespie and Satie.
But it was the Swedish RadioShow SoulCorner with radio-legend Mats Nileskjär that got Marius
interested in dj’ing and music-production.
Nileskjärs shows was digging deep in the history of black dance music, and was always presenting the
newest in house,hip-hop etc.
Starting out with a Dynachord Tape Echo mixer, a Fender Rhodes Mark I and 2 turntables back in the
late 80’s, Marius waited a good twenty years to release his first solo album.
Now ready to launch from the safe havens of Prins Thomas Full Pupp label, the longplayer titled
Telemark.