Who was your favorite featured artist this week? You have until 11am EST next Friday to cast your vote!
Füete Billete aren’t strangers to Puerto Rico’s music scene. Comprised of members Pepper Kilo, Beibi Johnson and Freebass, the hip-hop trio surfaced in the early part of 2013, although its members had been active in music long before that. All together, they’ve been part of nearly a dozen musical projects in their native country — some as performers, some as producers and some as touring members — including Davila 666, Calle 13 and Ciencia Fixion.
Emmanuel Nwankwo has currency from two of the most influential countries in Africa: Nigeria and South Africa. He’s got the literal kind — the paper stuff you use to make it rain while chilling in mansions and convertibles — and the social kind. As rapper/singer Emmy Gee, he’s advancing hip-hop culture in both places. Emmy Gee is still an up-and-comer with only a few singles under his belt, but with ”Rands & Nairas” and a couple of appearances opening for Kendrick Lamar and Big Sean, he’s one to watch.
It’s extremely likely that Gossling’s appearance on Australian rapper 360’s 2011 hit, “Boys Like You,” was what led Woolworths to, a year later, pick the Melbourne-based artist for an ad campaign showcasing in which she covered the big band classic “Monday, Tuesday, Wednesday (I Love You).” But that’s not all she’s about. When Harvest of Gold, her first long-player, was presented to Australia last fall, it became ever-so-clear that Gossling’s personal aesthetic was something else altogether.
Neither Amelia Randall Meath nor Nicholas Sanborn were on the prowl for a new project when Sylvan Esso (named after a character in the video game Swords & Sorcery) began to take shape. Meath was doing just fine with Mountain Man. Meanwhile Sanborn was keeping busy dropping the beat with his electronic project, Made of Oak. That is, until Meath asked Sanborn to remix a track she had written called “Play it Right,” and something magic happened.
Here Comes Campo-Formio couldn’t be a better name for the first LP from the legendary San Juan post-punk band. It’s more than a title; it’s a battle cry, an announcement that they’ve arrived and are ready for world domination. As a three piece, Campo-Formio’s music and musicianship are as tight as they can get; recognizable for its weird guitar breakdowns, technical, albeit creative drumming and sick bass lines that stick like an old ice cream cone melting in the sidewalk under an obnoxiously bright Caribbean sun.