Tag Archives: Odesza


Beat Connection have always been a band that has impressed me more in a live setting than in recorded form, an odd characteristic for a band that is often grouped alongside relatively tame live acts like Blackbird Blackbird, White Arrows and Lemonade. Whether performing at a tiny house party or the dance tent at a major festival, the trio never ceases to entertain with an endless supply of energy and enthusiasm. Unfortuantely, their recorded work, while bright at times, often lacks in the same departments. Enter Odesza, fellow Seattleites and sample patchwork impressarios. Last year, the duo (BeachesBeaches & CatacombKid) released the heavily slept on Summer’s Gone and, in the past few months (a few festival dates haven’t hurt), have garnered quite a bit of mass appeal. To kick off their upcoming West Coast tour with the aforementioned trio, Odesza have taken on remix duties for the Tune-Yards-channeling “Saola”, adding an oomph-worthy kick drum and scattering the vocals through a seductive filter/chop sequence. Like Summer’s Gone, the result isn’t exactly mind-blowing, but the duo have shown a penchant for turning out impossibly sunny jams in an over-saturated market, which is no small feat. Whether Odesza take their sound in a meatier direction will determine whether they eclipse their Northwest brethren or not.

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The below quote in from David Foster Wallace and Mark Costello’s Signifying Rappers, a discussion on hip hop and race, as well as a thorough criticism of rapidly changing, turn of the century media forms. I felt it was probably more worthwhile than the brief commentary I was going to plaster here instead.

You may now be getting some hazy idea of the sorts of really quite scary possibilities with which the rap we like is replete. And, hazier, of how complicated this stuff of sampler-from-outside can be. What’s remained passing strange, for use, is the vague threat’s appeal. The unease and ambivalence with which the rare white at the window loves rap renders that love no less love. Whence the fear, though, is really no matter. For look at the world, at the masses we’re part of. At what you look at closest. The plain 80s data is that, whereas love, devotion, passion seem only to divide, it’s fear and strangeness that bind crowds, fill halls, unite Us, somehow, as audience, under the great tent.


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