Posts Tagged ‘Atlanta’

GoodieMob2

 

This is the Goodie Mob I’ve been waiting for.  The ones that kick in the door and stomp on the beat.  THIS is that Goodie Mob.  I wasn’t pleased with their “first” single and I think this track restores the hope and anticipation that was lost in that other joint (that shall not be named).

With a song about uniqueness and individuality, the inclusion of one of music’s most standout artist, Janelle Monae, was a smart move on Goodie’s part.  “I don’t wear the clothes you wear, I’m just different and I don’t care.”

Keep your fingers crossed that their August 27th release date is set in stone.  Listen below and don’t resist the head nods.

Life in Technicolor

Atlanta in the 90s, for me, was skating on Saturday nights at Golden Glide to bass-heavy Southern sounds, participating in Bankhead Bounce dance-offs, watching American Rap Makers (RIP to Arnell Starr) and Planet Rocks late at night and strolling through South DeKalb Mall, debating on whether or not I should get my name airbrushed on a shirt or twisted up on a gold wire chain.

Outside of Miami, Atlanta was where bass music thumped the hardest.  90s ATL influenced many, including singer/songwriter Spree Wilson and production team The Flush, most evident by this dope ass EP these Southern gents dropped entitled Life in Technicolor Vol. 1.  If you know anything about Atlanta Bass Music, you know that fun is the epicenter of it all.  It’s about getting your folk together and having a good time.  This EP brings that vibe back.  With appearances from Big K.R.I.T. and A-Town legend DJ Jelly, you already know it’s gonna be a party.

Oh, and get into that Miya Bailey original cover art!

divinity roxx listening event

It’s an unspoken truth that only the baddest rock with Beyoncé.  Love her or hate her, Beyoncé is a dynamo who, seemingly, only surrounds herself with performers of the same ilk.  So it’s absolutely no surprise that Atlanta’s own Divinity Roxx would be chosen to share the stage in the pop diva’s all-female band.  Bassist Divinity has shown up and showed out all over the world, mesmerizing audiences with funky basslines and crisps snaps.  She has served as the musical director for “The Beyoncé Experience” and “I Am…World” tours, which further solidifies Divinity’s talents, dedication and musicianship.

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Photo by Carol Grady of Rhythmic Images

A few nights ago, I had the pleasure of experiencing an intense soul session that completely satiated my rhythmic thirst.  Chicago native Jesse Boykins III (an Audio Gumbo favorite) touched down in Atlanta at The Five Spot and shared his “Romantic Movement” and his glorious ‘fro with his adoring listeners.  His opening acts included Micah Freeman and Gilles, whom I, unfortunately, missed out on but word is, both gentleman threw down.  I’ll be checking them out.  Another opener was the dope ass band Bosco.  Led by the funky fresh Brittany Bosco, ATL’s finest served up tunes with their last show of 2012.  Brittany B. killed with her rendition of Ralph Tresvant’s “Sensitivity,” completely transforming it into a soulful, rock joint.

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The director of the acclaimed short documentary Underexposed: Indie Hip Hop in Atlanta delves into another aspect of the hip hop scene: the changes of the genre from inception to the present.  W. Feagins, Jr. presents what looks to be a well-thought out piece on the inevitable evolution of hip hop and how it’s affected its artists and its audience.  Hip hop, with its international presence, has proven that it can withstand the tests of time and scrutiny, but how does its change touch those close to it?  Change In The Game will hopefully answer this question and stimulate more dialogue.

The film will premiere at A3C Film Festival at the Plaza Theater.  Get more info on the screening here.

Dillon and Boog Brown have bumped fists to activate their dynamic MC skills in the form of super duo Martha Knuckles.  After collaborating a few times on songs and stage, the two Atlanta-based artists obviously figured they would be twice as nice as a group.  Since hearing their first single from the EP, I foresee good shit coming from this collab.  Check out the neck-breakin’ track below.

You can also help fund the group’s EP by heading over to Indiegogo and dropping them a little (or a lot of) bread.

For all performers, producers, songwriters and entertainment aspirants, Atlanta-based artist development and entertainment company Area 360 has an opportunity that you absolutely should not miss. Presenting “Artist Development in a Dash,” registrants will have a chance to quickly showcase their talent before a highly sought after and knowledgeable panel of industry professionals. After the artist’s two minute performance, the panelists will critique and provide immediate feedback on areas where the artist can improve. Artists will have one minute to ask the panel questions regarding their flourishing career.

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Hip hop is a funny thang.  We’ve got rappers that spit bars about money, cars, clothes and hoes, as if these acquisitions are the fulfillment of all their desires.  Rappers that strive to cop a label deal in hopes that all of those aforementioned things will be bestowed upon them with the simple mention of their names.  Thankfully, somebody has come along to talk some sense into these lost souls.  Visual artist and hip hop head Fahamu Pecou  has released an EP to complement his All Dat Glitters Ain’t Goals exhibition, which is currently on display at Lyons Wier Gallery in New York City.  One part case study, one part satire, all around poignant, All Dat Glitters is the impetus for a much needed discussion about hip hop’s role in pop culture and its massive influence through media depictions.

Hence, Fahamu Pecou is The Shit! The Shit is Pecou’s alter ego who exploits hip-hop vernacular to address the oversaturation of false images and mislead ideals of wealth and success. Appearing as a blinged-out, tatted-up rapper gracing the covers of art and pop culture publications. Fahamu Pecou is The Shit’s over exaggerated persona and swagger of is heightened by the use of subversive commentary, wordplay and colloquialisms scrawled atop these large-scale works. These quips directly engage the erroneous posturing proclaimed by today’s black pop culture icons and role models.

The EP provides the soundtrack to Pecou’s hard hitting displays of hip hop grandeur and extravagance.  Pecou recruits some of Atlanta’s most enterprising MCs to assist in ushering in some dialogue about what’s happening in hip hop culture.  Produced by Illastrate, the All Dat Glitters EP has been blessed by the likes of Stic.Man of Dead PrezClan Destined, L.I.U.N.S. Den, StarChile, Boog Brown, Great S.C.O.T.T., Methuzalah, Mike Flo and more.

Not only do you receive an awesome EP (for free!), Pecou has added a digi-book which includes art from his exhibit and lyrics from each dope track.  That’s the shit, right?

I’ve been gone for a minute but this video right here?? Shit ignited a fire that needed to burn. Killer Mike’s video to his single “Big Beast” from his new album R.A.P. Music is just that…a fuckin’ monster. Director Thomas C. Bingham took the Tarintino route–gore, violence, gangstas, titties, and bad ass attitudes. It is impactful as it is entertaining. The cinematic perspective is one that has long been devoid in the realm of hip hop videos. As Killer Mike so eloquently stated, “I don’t make dance music, this is R-A-P/opposite of that sucka shit that they play on t.v.” And unless there are insurmountable edits, don’t even worry ’bout it hitting BET anytime soon. But feel free to check it out under the cut…

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The Do For Self Initiative hosted another live event on Wednesday, this time featuring soul and funk as the highlighted genre of choice. Usually, Do For Self gears their productions more towards hip hop acts but since hip hop has much soul, the natural order of thangs would eventually lead the initiative towards funky rhythms. Hosted by blctxt, the night featured performances from Jack Preston and the Dojo Collective, Richelle Brown a.k.a. Cornbread, and Naira. Each set was steeped in a beautiful cosmic energy. While all the performances were magical, I was particular fascinated by Cornbread. Shawty bad. Her presence on that stage made me wanna kick off my shoes, light a j, and engulf myself in the sounds. Also, T-Bird and the Breaks travelled from Austin, TX to headline and inject their own brand of funk onto the scene. They played a mean cover of Aloe Blacc’s “I Need A Dollar.”

I told y’all last time about how a Do For Self production is laid out: collectiveness, unity, and dope energy. Ain’t nothin’ changed. Definitely be sure to check out each artists’ Twitter to find out more about them. You are welcomed.

*All photos courtesy of Underexposed’s Instagram and Facebook pages. ‘Preciate ya!*

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