Boston’s Mood Indigo continues to churn out impressive new tunes, each with their own intriguing cover art, at an impressive pace. “Moon Hands” and “Two Times Yellow” are of the slightly off-beat vocal variety as opposed to his more Gold Panda-esque beat work. On “Moon Hands”, he (whoever he is) sings “sentiments is nothing, when I put in your head”, invoking an all-important sense of yearning that pervades Mood Indigo’s subject matter and instrumental work. It’s the type of cold dissociation found in The Weeknd’s music, minus the profuse drug and sex references. “Two Times Yellow” is another breakup song built on strained vocals and a haltering beat, replete with plenty of empty space. Both songs are unsettling and far from melodic, but still manage to be infectious in their sincerity. You can download “Two Times Yellow” now, but you’ll have to chunk up 20 cents for “Moon Hands.
Author Archives: Gabe Meier
New Ras G – “Wedding Day”
Does anyone epitomize the blunted L.A. beat sound better than Ras G? Maybe Madlib, but it’s close. Apparently “Wedding Day” is just “another sumshit…..beat”, but goddamn is it some shit. Can we get Lord Quas circa 2000 on this? That would be too perfect. Stream below and use your interweb skills to find a download.
Stream Song From New Body High Signing Delivery

Unless you’re in labor, there’s really no point googling this song
It’s clear that Sam and Jerome, co-heads of L.A. based club label Body High are big on the TR-303. Last month, Sam’s 5 Dollar Paradise EP was largely based around the vintage synthesizer and their latest signing, L.A. duo Delivery, has a special place in their heart reserved for the machine. The duo will debut their live set at the Body High/Boiler Room takeover tomorrow, and they will presumably bring along some fun synths for the ride. “No Pain” is a tense bit of acid techno that just screams warehouse rave. At least my kind of warehouse rave. Stream below and tune into Boiler Room tomorrow to catch Delivery’s full set.
Black Hippy Don’t Give A Fuck About Cirrhosis
First question: how did this song not make it onto good kid m.A.A.d. city? Second question: isn’t having the Black Hippy four headed monster trading off verses about the problems surrounding alcoholism an infinitely better than having Kendrick go on for five minutes? One of the virtues of Black Hippy is that each member complements each other so well. The formula of Kendrick as the virtuous one, Ab-Soul as paranoiac weedhead, Schoolboy Q as repentant gangster and Jay Rock as the go-to street rapper works too damn well to ignore. And that formula works perfectly on the Black Hippy version (fuck calling adding a few verses a remix) of “Swimming Pools”. The song widget is confusing and blows up my computer every time I try and post it (thanks WordPress) so you’ll have to head here to stream.
Sunday’s Best (And Worst) With Bago
Usually when someone compares an artist to Lana Del Rey, I immediately switch off and move on to something else that will be inevitably more worthwhile. When Adele is mentioned in the same sentence, violence may occur. But even Bago’s press release couldn’t deter me from becoming slightly obsessed with the Los Angeles based singer. There’s something about that lo-fi R&B aesthetic I just can’t get enough of and Bago fits the profile to a T. The dark, ephemeral production from Bay Area-native Alexander Spit sets the table for Bago to do the whole “born bad” (there’s literally a song called “Born Bad”) act on her debut, Sunday’s Best. It really shouldn’t work, but she has the vocal chops to pull it off and the chemistry between her and Spit is clear enough. Start with “I Forget You”, the clear album standout, and if you can get past the somewhat contrived nature of the whole deal, then stream/download the entire album at Bago’s Soundcloud. Apparently, there’s a new EP coming in January with some big collaborations. Bago, you have my ear, but I’m still skeptical. Prove me wrong.
EP Review: S-Type’s ‘Billboard’
Disclaimer: I’ve probably listened to the various radio/mix rips and live recordings of “Billboard” over one hundred times since Rustie debuted it in April. Just sayin’.
From the opening proclamation of “oh check this out”, S-Type makes his intentions clear for the Billboard EP. He will take no prisoners. He will push the volume into the red. He will not short you on bombast. His drums will crack. His synths will be crisp. And most importantly, he is the heir apparent to the LuckyMe throne. 25-year-old Bobby Perman has been releasing music since 2005, but it wasn’t until Rustie premiered “Billboard” back in April that people really started paying attention. And I mean really as in turn your head, let your jaw drop and stare.
What S-Type does with “Billboard” is truly remarkable in its conventionalism. The Glasgow-based producer uses a tried and true mold of huge Southern hip hop and essentially does it better than anyone else and the result is a song of the year candidate. Similar to what DJ Toomp did way back in ’06 with T.I.’s “What You Know”, Perman has gone bigger, badder and better than everyone else.
Amidst all of the hysteria over the melding of hip hop and dance music, “Billboard” manages to be immensely danceable without pandering to the “EDM”/Mixmag crowd. That means no dubstep-like buildups, a cool 99 BPM, and most importantly, no moombahton synth stabs! You thought it was impossible, but with a chord progression as infectious as “Billboard”, the world might as well have been turned upside down.
Perman could have easily churned out two or three more mediocre tracks within the same format as “Billboard” and had a success EP, but he admirably didn’t rest on his laurels The remaining five songs, while all similar to “Billboard” in their bombast, , mix the melodrama of radio R&B, smooth Egyptian Lover-esque electro and modern dance tropes. The result is something like Rustie’s seminal Glass Swords, although songs like “You Da Best” and “Walrus” lack the chaotic precision of the modern day classic.
In the end, Billboard is a collection of six huge hip hop instrumentals that are just aching to be rapped over. It’s no surprise that an A$AP Mob collaboration is in the works and I would expect the masses to follow. In the meantime, pump “Billboard” and “You Da Best” the next time you’re working out and/or getting hyped for just about anything. It’s clear that S-Type is going places and while he might not have the dexterity of a Hudson Mohawke (at this point), he knows how to craft a banger and sometimes that’s all you can ask for.
Rinse RATKING’s Take On King Krule’s “Octopus”

Enjoy the next few weeks of RATKING before XL re-releases Wiki93 and the shitstorm of hyperbolic think-pieces and comparisons rains down upon us. They’ve already been called a “young OF” and really, what could be more off-base? The fact that Wiki93 is being remastered (much needed) and released on a label as respected as XL is kind of a mindfuck considering how raw these dudes are, but power to them. The hype machine revved its engine last week as the official RATKING remix of (similarly hyped) British crooner/producer King Krule’s “Octopus” hit the interwebz. Adding a simple drum pattern and some typical New York gulliness to the saccharin original, the boys get all retrospective, spitting about the “rusty rumble in the drums” and “peddling dimes”. At this point, RATKING are pretty one-dimensional and re-releases and hype machine collaborations aren’t going to change that. The remix will be released on Rinse Records (which does get me a little wet). Stream below.
New Roc Marciano – “Momma’s Song”
What would throwing rice on the block look like?
Drinking St. Ives out the vase, bang a young Josephine Baker, coins on steroids. The truth is that Roc Marciano would rather watch paint dry than fuck with the weak MCs nipping at his heals. Marciano evokes more vivid imagery in just over two minutes than most artists will over an entire album.”Momma’s Song” is self-produced and features a mean Hamilton Bohannon sample. Like I said a few weeks ago, another day another brilliant Marciano track that will not appear on Reloaded (still tagged with a November 13 release date via Decon. Enjoy below.
New Local Natives – “Breakers”

Yes, the photo above is painful
This isn’t really my forte, but it’s raining out and sometimes you just need to indulge in some guitar music. Local Natives are pretty much the quintessential Silver Lake band with just enough enough fringy behavior and technical ability to belie their association with the post-Vampire Weekend “afropop” masses. Now I don’t even want to start on the dumbfuckery that is the label afropop so just going to move on. Local Natives aren’t the most innovative band in the world, but what they do, they do really really well. The harmonies are pitch-perfect and they can actually, you know, play guitar pretty decently. “Breakers” is the lead single off of Hummingbird ( outJanuary 29 on Frenchkiss), the group’s follow up to 2009’s excellent Gorilla Manor. If the track is any indication, the album will will see Local Natives expanding into bolder and broader territory. Stream below.
DJ Sliink Remixes 2 Chainz’ “Birthday Song”

DJ Sliink usually tags his songs as either “Trap”, “Jersey Club” or “Sliink” on his Soundcloud. The first two are pretty self-explanitory, but the Jersey native’s best work comes under the “Sliink” label, a mixture of the previous two that infuses verbose trap stylings (minus the moombahton synth stabs) with subtle club rhythms. Sliink is a master vocal manipulator and on his take on 2 Chainz’ “Birthday Song”, he uses that girl’s (you know what I’m talking about) vocals as an individual instrument to maximum effect. It’s Saturday night where I am, so I have no conscious posting about a song that centers on a “big booty” sample. Stream and download below.






