The house-driven late punk of the DFA was missing but one thing: social consciousness. Holy Hail have it. Are they the perfect band? We exaggerate... slightly. Irrepressible beats are given soul with funkier bass lines and heart with high-moral lyrics.
When you're born with a name like Catchdubs, you owe it to yourself to chase the almighty groove. Brooklyn's Nicholas has certainly done so, both designing tight mixes and redesigning tracks themselves. As both a promoter and maker of fresh music, he's right in the thick of it.
This Vancouver act has more than just exclamation points in common with the Go! Team. The group shows a piercing punk patina, but like GT, their violence is on the scale of, say, roller derby. Ultimately, dancing is the purpose of all the sharp guitars, rabid vocals, and soul-style rumbles.
If you want to remain still--at your desk, at your job, in your car--then stay away from Pendulum. Errant shards of synthetic sounds whiz past your head as the mechanical pulse of drum 'n' bass collides with the sensual weightlessness of the female voice, and the processed beats move steadily forward. It's a continuous current of erotic poetry revealing a futurescape of robotic, ecstatic sound.
Just when you thought the Spice Girls ruined U.K. rap, along comes Mike Skinner, a pub-crawling everyman spilling judgments about daily life, girls, and money. The smart-assed rhymespitter's latest highlights his ego and attachment to celebrity.
Dutch deity DJ Tiesto has mastered taking dancefloors on fantastic journeys through prolonged breakdowns and fantasy-filled electronic melodies--so much so, arenas sell out left and right even when he's solo on the bill. Though he started out playing unabashedly anthemic trance tunes, Tiesto has grown into spinning and producing a blend of upfront trance and progressive house that keep fans salivating.
It's drum n' bass, it's dubstep, it's maybe even crunk: The Bug is known for his dark and warbly basslines and ragga-inspired tracks that are slow and grindy and grimy, grimy, grimy.
Young Natalie Walker's story plays out like an afterschool special. She was raised in Indiana by a God-fearing family and broke free like a songbird to start her onstage career, with thanks to the sad ballads of Beth Orton, freakish croons of Beth Gibbons, and self-critical melodies of Fiona Apple.
From conscious piano jazz to lightheaded trip-hop, this dependable trio has been delivering the goods since the early '90s. Their intuitive ability to stretch musical boundaries has led to wonderful collaborations with notable players from John Scofield (guitar) to DJ Logic (turntables).
The desert minimalism of these Arizona postrockers is given some extra punch in their new Bibio remix; of course, this being postrock, "punch" is a relative term. In essence, the old beatscape is explored skeletally, with drum machine clips and piano loops feeling like physical forms.
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