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Artist of the Week: Vote for Your Favorite

by Suzy Exposito | 3 days ago

Who was your favorite featured artist this week? You have until 11am EST next Friday to cast your vote for the next Artist of the Week! Choose between the following:


Singer-songwriter Mitski’s latest album, Bury Me At Makeout Creek, captures both the severe self-loathing and unwavering, childlike aspiration of underdogs everywhere. Adopting the syrupy croon of a young Patsy Cline, supplemented by the lo-fi volatility of Canadian noise pop outfit Eric’s Trip, Mitski rummages through feelings of alienation in college party scenes and barely-reciprocal romances with a devil-may-care, folk-rock abandon.


While many of their Chilean comrades like their dance pop with ultra-gloss and vintage synths, Tunacola prefers to create stunning kitsch pop songs with silliness and classic video-game console sounds that still have plenty of dance floor functionality. Focused around playful hip-hop verses, the Santiago-based quintet calls their über-quirky music hip-pop. Their dedication to nonstop fun was underscored last month when they channeled the Teletubbies, and frolicked around wearing onesies in their latest music video,“Danky.”

Orange Caramel

While most K-pop groups look west for their sound and fashion, Orange Caramel keeps its concept local. The trio has its retro roots in Korean trot music, which, paired with their sparkly and cartoonish look, creates a quirkier and weirder alternative to the standard K-pop girl group. You can’t really make sense of what’s going on with Orange Caramel, sound or fashion wise, using logic and everything about them screams “too much.” It’s like eating a gallon of cotton candy ice cream.

Gabriel Teodros

Teodros is a prototype of Ethiopian-American hip-hop, but his diasporic roots run deep. Claiming influences from Ethiopian music to Aretha Franklin to old school hip-hop, he is no stranger to the magic created when cultures mix. The first time Teodros crossed paths with Belay, the two shared a stage with fellow Copperwire rapper Burntface and singer Meklit Hadero at Addis Acoustic Jazz Night in Addis Ababa, Ethiopia. When visiting Fendika later in 2011, Teodros found everything he loves about American hip-hop present in his ancestral home: “the poetry, humor, politics, dance, outcasts — and above all, the sense of community.”

Christopher Ellis

Christopher Ellis is a big deal. He may be a relative newcomer when it comes to his participation in old school reggae, but he’s been immersed in it his whole life. As the son of Alton Ellis, AKA the Godfather of Jamaican Rocksteady, this London-born reggae singer echoes the legacy of his late father with his rich bellowing vocal style and gripping one-drop reggae rhythms. He resurrects the rocksteady sounds of his Jamaican heritage with a lover’s rock kind of lyricism, and adds a contemporary soul-R&B twist.

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Perfume’s Sweet Techno Beats Move NYC on 3rd World Tour

by Corynn Smith | 3 days ago

Japan’s techno-pop triumvirate, Perfume, lit up NYC’s Hammerstein Ballroom in concert last Saturday, closing out their third international tour with the bang it deserved. Sold out and tightly packed, the venue’s capacity was stretched to the limit; It was one of those shows where you wondered in the back of your mind if the mezzanine was going to fall from everyone jumping together. It was awesome.

Perfume’s A~CHAN, KASHIYUKA, and NOCCHi, were both adorable and badass with their soft, high voices and razor sharp performances, brought their EDM-heavy discography to glorious life without once losing their edge to fatigue or complacency. Perfume doesn’t play around when it comes to performances, as they’ve mentioned to us before. They firmly believe that live shows are an artist’s true stomping ground, and since their policy is to literally be the only three people on stage at any moment, they stomp it hard. It probably also helps that every atom of energy they display onstage is returned a hundred-fold from their hyped up fans, creating this perpetual cycle of excitement. Once science figures out how to harness that, we could probably serve the energy needs of small nations on Perfume concerts alone.

Ayano Omoto, "NOCCHi"

A remix of euphoric synthpop tune “Spring of Life” was the first track of the night and a marvel to finally see in person with all the precise hops and robot-like motions. It seems almost impossible for them to stay in lockstep for the whole song, much less an entire concert after that.

“Synchronization!” said KASHIYUKA at the pre-concert interview, when asked what Perfume cares most about onstage. “We three must synchronize. That’s the most important thing.” Yes, definitely important: Thanks to Mikiko, the choreographer who jumped on board back in 2003 around the same time as genius producer Yasutaka Nakata, Perfume’s moves are defined by high-impact, interlocking sequences that require perfect timing and concentration. One wrong turn, and someone could get a knuckle to the face or a sharp heel to the shin.

Perfume’s only English single, “Spending All My Time,” apparently takes the crown as the group’s most challenging choreo to date, but not because it was exhausting. “It’s not about the body movements — it’s the hands. It’s like a puzzle,” A~CHAN mused when asked about the dance she had trouble learning, “We only have two hands, but it was difficult. I just couldn’t get figure it out.”

Hammerstein wasn’t by any means the largest stage Perfume has performed on (hello, Tokyo domes), but the group made excellent use of the space thanks to tech direction by Daito Manabe of Rhizomatiks. Part of the creative team behind Perfume’s famous projection-mapping performance at the 2013 Cannes Lions International Festival, Manabe complimented Perfume’s electric performance with oscillating lasers for “Glitter” and “Fake It” to perfectly-timed lightsaber pulses during “Game.”

Ayaka Nishiwaki, "A~CHAN"

In addition to Perfume’s standard hyper-tech stage equipment, the venue was also rigged up with cameras that pulled double duty: Capturing the action for the group’s upcoming tour DVD and live-streaming the show straight to select movie theaters in Tokyo and Hong Kong. The idea of fans lining up halfway around the world for 4 am dance party only ramped up the excitement Stateside. After all, some of us had been waiting nearly a decade for Perfume to grace the US with their blessed LED light, and now we were actually going to participate in their global event. It doesn’t get much better than that.

Every stop on Perfume’s World Tour 3rd boasted a unique set list mostly composed of re-arranged tracks from their latest album, Level 3, but also notably including a tailored song for the local crowd (for example, a cover of Crayon Pop’s “Bar Bar Bar” when the trio took South Korea last month). LA and NYC’s special treat was Frozen’s “Let It Go,” complete with a hilarious “freezing” dance and Elsa’s storm off at the end.

Yuka Kashino, "KASHIYUKA"

The treats were not limited to concertgoers, though! A talk break revealed just how much fun the trio were having in the Big Apple that weekend, with A~CHAN waxing poetic about our bagels and cupcakes and turning “Bagel! Cupcake!” into an interactive game with the fans. Even the ever-cool NOCCHi felt it necessary to mention in our interview that NYC bagels were, in fact, where it’s at. (Hear that, Japan? Our bagels are the shit, so send your pop groups over more often! It’s not for us — it’s for them.)

The last hurrah before the encore may have been “Polyrhythm,” the addictively-repetitive track that gave Perfume their first major US exposure on the Cars 2 soundtrack. But, alas, it was their techno-house banger “Party Maker” that really set the crowd off just a few songs before. About a minute into the music, the trio’s signature, near-emotionless vocals (ordered specifically by Nakata so the audience can attach their own feelings to Perfume’s music) gave way to one of the sickest beats you’ll hear out of Japan this year. One of the girls screamed “JUMP!” just before club-like chaos ensued. In the madness I forgot who it was, but she didn’t have to tell me twice.

Photos courtesy of Universal J

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Fuse ODG is Not Buying Band Aid 30 (And He’s Right)

by Suzy Exposito | 4 days ago

Since 1984, popular artists in the UK and Ireland have convened each Christmas as Band Aid, the supergroup behind the charity single “Do They Know It’s Christmas?” Sir Bob Geldof, former lead singer of The Boomtown Rats, founded the project and initially penned the song  in order to describe the plight of Ethiopians suffering famine during the holidays. Recorded each year with a new lineup, the proceeds go to anti-poverty efforts in various African countries. Now in its 30th anniversary, Geldof rewrote his iconic song in light of the ongoing Ebola crisis in Sierra Leone, Liberia and Guinea.

Geldof recruited UK-born, Ghanaian-raised Afrobeats pioneer Fuse ODG to join the supergroup; but two days before the recording, the “T.I.N.A. (This Is New Africa)” singer bowed out of the project. In a profound op-ed published in The Guardian, Fuse ODG explains why he turned down Band Aid this year:

“Saying no to Bob Geldof was hard. But when I saw how negatively the lyrics portrayed Africa I had no choice… I, like many others, am sick of the whole concept of Africa – a resource-rich continent with unbridled potential – always being seen as diseased, infested and poverty-stricken. In fact, seven out of 10 of the world’s fastest growing economies are in Africa… I’ve performed in two of the three countries currently hit by the Ebola crisis, where I have friends and loyal fans, and will be donating the proceeds from my next single to help tackle this issue.”

You can read his op-ed in its entirety here. Watch the video for “T.I.N.A.” below:

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Artist of the Week: Vote for Your Favorite

by Suzy Exposito | 10 days ago

Who was your favorite featured artist this week? You have until 11am EST next Friday to cast your vote for the next Artist of the Week! Choose between the following:


Myrkur’s first dip into black metal is a brave one, and not only because she’s a woman in an historically male-dominated genre. It’s gutsy for its mix of ’90s Norwegian metal influences and operatic, almost whimsical vocals. “Ravnens Banner” floats in like a chorus of ghosts before triumphant riffs rip in to hyper-fast drumming. “Frosne Vind” is quietly gorgeous, yet eerie, “Latvian Fegurð” and the bulk of the rest are of the beastly — but also majestic —variety.

Salt Ashes

Salt Ashes wants to dominate the dance floor — provided, that is, that everyone at the club is clad in black. Sure, she might be a material girl at heart (aren’t we all?) but the Brighton, England-based singer (née Veiga Sanchez) is out to provide an arty alternative to the Technicolor tunes of Madonna and her spandex-clad followers. Case in point? Lead single “If You Let Me Go,” a hook-heavy dance pop tune that unfolds like a Giorgio Moroder/Dave Gahan play date.

Jazz Cartier

Downtown Toronto native Jazz Cartier started his career six years ago, when he was just 15 years old. The hardcore rapper, who also goes under the moniker Jacuzzi La Fleur, lists eclectic talents like Kanye West, Busta Rhymes, Andre 3000, Erykah Badu, Z-Ro and Feist as prominent figures who have influenced him the most as an artist. When Jazz was a child, he moved around a lot; he believes living in several cities has shaped his musical sound tremendously, and it is evident.


When the Chinese-Korean rapper and personality was between the ages of 16 and 17, what she refers to as “digital music” took precedent. The former trumpeter adapted to contemporary sounds, in her own way. She combined satirical lyrics, clear pronunciation, danceable beats and her infamous knack for creating and nailing catchy hooks to insta-fan-favorites like “My Vag,” “Queef” and “NYC Bitche$.” Yellow Ranger is Awkwafina’s debut album, which was released in February. She is currently working on an EP.


This ambitious Polish band is good at owning their electropop bombast. (Heck, they even pulled off a Boiler Room session.) But as their new EP Breath proves, they’re also not half-bad at shaking things up. The title track dispenses with Rebeka’s operatic statements, replacing them with a streamlined dance floor intensity. (If the universe is fair they’ll be next in line for The Knife’s job.)

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Artist of the Week: Vote for Your Favorite

by Suzy Exposito | 16 days ago

Who was your favorite featured artist this week? You have until 11am EST next Friday to cast your vote for the next Artist of the Week! Choose between the following:

Khuli Chana

Having gotten his start in the mid-90s, or, hip-hop’s Golden Era, Khuli Chana is one of South Africa’s most prolific rappers. He came to fame in 2005 as a member of visionary rap group, Morafe. In 2009, he released his first solo record titled The MotswakOriginator, and in 2012, he dropped Lost In Time, which as earned him several awards in 2013, including SAMA’s Album of the Year and Best Rap Album.

Lay Low

As the compulsion to wrap yourself in a blanket cocoon heightens, your soundtrack should be as cozy as you want to feel. Here’s where Lay Low comes in: her Nordic brand of blues and folk is like aural comfort food, toasted by the smoky warmth of her voice, and delicately spiced by an assembly of gentle, featherweight strings and snare drums.

Second Hand Rose

Over the last 15 years, the band have released three full-length albums that fuse classic rock with traditional Chinese instrumentation and operatic vocals from frontman Liang Long — a burly northeasterner with a penchant for performing in drag. What gives the band its greatest distinction and its sense of theatrical subversiveness, is Liang Long’s vocals, which walk the line between rock and classical Chinese opera, at its core is something uniquely Chinese — and it rocks.

The Felines

Recent and deserving inductees to the Copenhagen chapter of the League of Extraordinarily Cool Girl Bands, the Felines are like a fully fueled hair flip that actually whips someone. Four years and two EPs in, bassist Asta Louisa Bjerre, guitarist Ditte Melgaard and drummer Mei Long Bao have finally wrapped up their first proper full-length: Want. This debut LP is being issued through the US of A’s Burger Records — so, considering the imprint’s current (and earned) prestige, they’re about to be everyone’s new favorite band.

Welcome Back Sailors

One minute, you might be having an average day in your average cardigan sweater; but the next, you might be astrally projecting yourself back to 1981, shimmying your neon shoulder pads alongside the New Romantics. At least, that’s the idea behind Welcome Back Sailors’ upcoming album, Tourismo. They take all the best qualities of early ’80s synthpop and streamline them into slick, jazzy ballads for the young and the fashionably melancholy of today.

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Watch Rebel Music: Native America Today, Exclusively on Facebook

by MTV Iggy | 18 days ago

The second season of Rebel Music premieres exclusively online today with a moving and eye opening half-hour episode revealing the lives of modern Indigenous North Americans. Rebel Music: Native America goes beyond the stereotypes to illuminate the real challenges facing Indigenous people today. The episode follows young Native American activists and musicians Frank Waln, Inez Jasper, Nataanii Means and Mike Clifford as they draw from their heritage, using music to assert their identities and confront the issues affecting their communities.

Rebel Music: Native America will debut on MTV’s Facebook page Thursday, November 13 at 4:00 p.m. ET/ 1:00 p.m. PT. The premiere will be followed by airings on mtvU, MTV2, Centric, Epix 2 and It will also be available for free on platforms including iTunes, Hulu, and Xbox Video.

Watch it now.

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PREMIERE: Watch the New Video for Natalia Clavier’s “Nada” ft. Ticklah

by Isabela Raygoza | 18 days ago

With Natalia Clavier’s second album Lumen (2013), the Argentine singer-songwriter has established herself as a versatile musician. She no longer is solely recognized as the live, sultry vocalist of Thievery Corporation, but instead as a multi-dimensional artist who knows how to maneuver elegantly within diverse Latin alternative sounds and downtempo electronica.

Probably one of the most enticing tracks on the album, “Nada” borrows reggae’s one-drop riddims in a Barrington Levy’s “Poor Man Style” sort of way, with hints of the haunting vocals of Mercedes Sosa in Natalia’s echoing falsetto. The song is about letting go of all the things that drag us down in life. The claymation video for it is an absolute delight.

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Artist of the Week: Vote for Your Favorite

by Suzy Exposito | 24 days ago

Who was your favorite featured artist this week? You have until 11am EST next Friday to cast your vote for the next Artist of the Week! Choose between the following:


Jón Björn Árnason and Leifur Kristinsson are the Icelandic pair behind tunes you’ve may already heard in AwkwardAbout a Boy and The Fosters. And, like a lot of the bands who first find greater exposure on the small screen, they’re the kind you’ll be desperately Googling once the credits roll. Their debut full-length, Den of Lions, features one emotive track after another. Somewhat dejected sentiments are made empathetic through bombastic crescendos, buildups so big you can’t help but feel your own feelings are validated.


This Danish artist is a musical chameleon. Nabiha Bensouda has both the powerful R&B-soul vocal range of a true diva, and, as an MC, a real OG’s linguistic dexterity. Apart from her vocal prowess, this soul pop songstress also has some dope dance moves that only add to her all-encompassing appeal. In fact, Nabiha is already a bonafide star in Europe, having received prestigious music awards like Female Artist of the Year at the 2013 Danish Grammys and winning the European Border Breakers Award.

Andy Stott

Andy Stott has been making understated electronic compositions for over a decade. More interested in creating a chill moment than a dance floor anthem, it’s easy to see why the Manchester-based producer might have slipped past many listeners’ radars. His music creeps and crawls, his songs all united by a sense of unease that can take several spins to fully unpack. His upcoming album, Faith In Strangers is a dark and intricately crafted nine-track journey. Sure, there might be things going bump in the night, but in Stott’s world, they sound downright glorious.

Einar Stray Orchestra

Coming at you like Viking warlocks, Norwegian quintet Einar Stray Orchestra turns post-rock into a mystifying concoction of suspenseful strings and balletic piano riffs, moody percussions and spellbinding harmonies. With his captivating tenor, ringleader Einar Stray tells gloomy, real life stories about deceitful politics and penniless drifters seeking the afterlife. He started off as a solo artist, recording music in his bedroom and putting out tracks on MySpace. He’d often invite friends to join him onstage, who consequently became his official backing band.


Like high gloss indie pop with a spring in its step? HAERTS’s self-titled debut is one of the most big-hearted (big-haerted?), shamelessly emotional releases of the year. Sure, we could tell you that the band’s story starts with the traditional “boy-meets-girl, boy and girl discover they like each other both professionally and personally” narrative. But given the New York five-piece’s piercing electropop hooks and starry-eyed choruses, chances are you already guessed that there was a bit of romantic pixie dust sprinkled into the works.

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