#fresh funk punk

[funkpunkandpunkfunk]

Naked Roommate - Broken Whisper

[sludgewolf]

Hiii! I was wondering if I can request hazard dating hcs with a short fem!reader who likes feminine things and likes to dress in pink attire? Please and thank u 😽😽

That's such a cute idea, so sk8r boy vibes ;-; btw love your pfp, he would Disclaimer: do not copy, repost, take or feed to AI or NFTs anything I post Masterlist

He was a punk and she did ballet - Hazard x Reader

He's such a softie for you, despite his size Haz is puddy on your hands, all you need to do is bat your eyelashes at his direction that you've got whatever you want

even when you don't ask, Findley will still surprises you with plushies or fresh flowers almost every week just to see the look on your face

Your designated driver, you'll never have to drive when with him

gives you full control over the AC and radio

just don't push your luck with pop, country or funk cuz he will revoke your radio privileges if you play bad songs

Likes to pick you up and have you on his lap when busy or simply when he's stuck sitting somewhere, be it for major repairs on his prostetics or getting new tattoos

or like that time he was waiting for Susie to finish engraving some of the flowers you doodled on his shotgun arm

when he can't have on his lap Haz sits you on a counter by his side as he goes about his business

you in turn constantly drag him over by his spikes in order to steal kisses that leave him chasing your lips

Absolutelly loves pink too, one of his favorite colors bc of how bold it is, besides he thinks its cute how your pinks matches well with his purples

and he isn't about to let society dictate what colors he should or should not like bc of smt so arbritrary as gender

You once covered his right arm in sanrio and winx club stickers while he was asleep, Find then refused to take them off no matter what

he was so sad when they fell off during a fight that he picked back up those he could find and glued them on your shared room door

Findlay has the habit of putting things away on the tallest shelves since it just is more convenient for him

but even if not on purpose he does love to watch as you struggle to reach for things just for not five minutes later to have you pouting at his side asking for help

which he ofc does, though he has the smuggest look on his face as he does

A sucker for headpats!!

Will sit down in front of you hoping you get the hint and play w his hair

you're forbitten from keeping them from him tho, you must meet the daily headpat quota or he'll sulk for the rest of the day

Asks for your help with makeup, and expecially his eyeliner before taking you out on dates, he has to look good for you

he is one of those guys that actually knows how to properly put on lipbalm (so proud of him)

Regularly calls you Short Stack and will lean his elbow on your head as he pretends to look for you

Gets so flustered when you compliment him, using cute pet names and softly holding his face

full on stuttering and flushing tomato red, you weaponize it after he teases you for your height

Haz leaves his shirts lying around the room so you may steal them without knowing it was actually his plan all along

you wearing them is his favorite sight in the morning

which goes along perfectly with the lazy mornings you spend together, when he won't let you out of bed demanding some more cuddle time w his love

If you liked this pls reblog and comment so I know to write more like it reblogs >>> likes

[haveyoulistenedtothisalbum-poll]

Tracklist:

Daftendirekt • WDPK 83.7 FM • Revolution 909 • Da Funk • Phœnix • Fresh • Around The World • Rollin' & Scratchin' • Teachers • High Fidelity • Rock'n Roll • Oh Yeah • Burnin' • Indo Silver Club • Alive • Funk Ad

Spotify ♪ YouTube

[thumpypuppy]

hi! i really love your isat stuff, especially all the drumset parts. do you have any tips for writing drumset parts? like in "i wont let you go home" and "how can you help me stardust"?

Yooooo you summoned the black sheep (or I guess crow, more accurately?) of the studio, your very own Sandra Baker!

Let me start off by saying this: Rule of Three, baybee! Don't repeat stuff more than three times. It's not hard-and-fast, but it'll get you there. So like…

A A A B

A A A B

A A A B

C A B D

See? So like on the fourth measure play something different, and then in the scope of four blocks of four measures play that last set of four in a totally different way. It breaks up the monotony and keeps it fresh.

Okay so let's jump into the songs and break some things down.

I won't let you go home is fully unhinged so… we start on some thrash/punk drums, some late 80s metal drum fills, throw in some spicy rides, it's really about carrying the energy of the piece because drums set the tone. Go listen to some 80s metal, listen to the old punk scene, figure out what people were doing when they were reinventing how drums were played, and then take some time studying where all that came from in the first place, from early jazz into the bebop scene, into psychedelic funk and jazz fusion and prog and… you gotta study your music history.

From there we launch into a chill single time beat, we're keeping time real simple on the hat and snare, but there's still a groove in the kicks. It's SO important to keep the groove, especially when you're working with your weird sister who is allergic to writing things in 4/4 most of the time. This part is pretty straight-forward, so the kicks are doing most of the work here adding weird stutters and triplets, and we have some crashes punctuating a few important parts in the music.

At about a minute twenty we drop into some tight punk drums, so very in-the-pocket, closed hats, this time the kick and snare are keeping the obvious time, so we put a little stank on the hat until we open up full-tilt and head into the next section.

Okay the next part I'm sorry not sorry it's just free jazz and I can't explain that. Go listen to like… Weather Report or KoenjiHyakkei or something… because sometimes it's okay to be weird, just have some care and intentionality behind it, like know what you're doing so you can do it wrong the right way, yeah?

Okay next section, the breakdown… so it's like… half-time feel, put an obvious hat smack on the off-beat so we know where that is, and then just kinda go full prog? Big drums, lots of stadium rock fills, but keep that beat so we know when to headbang, right?

Then like leading into ~2:50 we gotta pick it back up, go full classic punk for a minute, so we keep that half-time feel but imply we're ramping with the snare, and then the classic crash mute and a bar of silence before we're back to OY OY OY.

Then we hit a kind of slower fill that drops into this silly blastbeat breakdown where we're doing these nutty kick fills and gravity bomb blastbeat whatever they are snare rolls while keeping the breakdown feel with big crashes.

OKAY so that was a lot. The big takeaway here is this: Go study the history of rock music starting from like… maybe the mid-1930s… and go from there. Also, make sure you keep the groove. You can be weird, just make sure it's obvious when you're supposed to headbang.

As for "How can you help me, Stardust?", I am so sorry not sorry about this. 🤣

So in the first section you'll kinda hear that I played around with the snare placement and almost gave it like a reggaeton or bossa nova feel? You can do that… you just set up this expectation that we're going full punk and then you can drop a samba beat in your metal and like what is anyone gonna do about that? Dance? Enjoy it? Exactly.

Honestly the rest of this song I got nothing to say that I didn't say for the last song, so the takeaway here is just like… you can kinda do whatever if it grooves.

So like… if you're programming drums instead of playing them, picture the kit and how it is or isn't physically possible to play it, etc. Generally speaking you only have a stick in each hand and two feet, so be mindful of that kind of stuff and don't hit like… a snare and a crash and a china all at once…

Also like… a really fun thing I got to do in DOOMTROID was come up with kick patterns for djent sections, so like… maybe we're playing a section in 7/8, so I'd write a kick pattern in 5/8 and let it drift until it came back around, because it makes a fun dynamic pattern, and then we're playing 7/8 but we still gotta groove, so if you play 4 over 7 you get a measure of four hats on the downbeat, but the next measure has three hats on the off beat, so you have this one regular element that keeps a simple beat, you have the snare showing up to tell you that we're in 7/8, but then you have a 5/8 pattern repeating under all of that… and so it's hella fun to just goof around on stuff like that.

So like… even if you're just playing in 4/4 you can do fun stuff like… let's just talk about the snare for a second.

1 & *2* & 3 & *4* &

Basic stuff, snare on the 2 and 4, but can we get spicy?

1 e & a *2* e & *a* 3 e & a *4* e & a

1 e & a 2 *e* & a 3 e & a *4* e *&* a

See? You can do weird stuff, especially if you just play the hat on 1 2 3 4. Play around and make your stuff sound different.

Your homework for this week is to go listen to at least three songs from each decade starting from 1930, make sure you get plenty of bebop, jazz, and prog in there, and then take a song you've already written and change the feel/genre by only changing the drums, and then share it with the class because we all wanna see how great you are.

(The last part is optional based on your comfort level but I'm still gonna low-key bully you into sharing your music because visibility and networking is important in this industry and I definitely wanna give folks a hand up where I can.)

This whole thing would probably better as a video, so if I can catch a minute to stop by the studio maybe I'll stream all this with audio examples.

[triangularitydubs]

Say fresh. Quick question, but....

If you and Punk was in a relationship.

Then would that mean you be Funk?

Oh no.

Now first Frssh X Xaine

Now Fresh X Punk?

Why are yall shipping enemies!!??

Screams

(To answer your question, yes)

[falloutbradreviews]

Underoath – The Place After This One

Throughout my life as a music fan, I’ve only had four favorite bands, and three of the four I’d still consider among my favorites. When I was a teenager, my favorite bands were pop-punk / alternative band Fall Out Boy (who are still my favorite band today) and metalcore / post-hardcore band Underoath. I haven’t talked about them too much over the last seven years, since I last listened to them, but they’ve sort of fallen off over the last decade or so. Their 2018 comeback album, Erase Me, was a solid affair from what I remember, but it was also more of a generic Octanecore / metalcore than their earlier stuff. I liked it at the time it came out, but I haven’t gone back to it since. It took another four years for them to drop another album, 2022’s Voyeurism, and I never heard this album, but from what I’ve heard, it was okay. I can’t say I was excited about their new album, The Place After This One, but they switched labels for the third time to MNRK Heavy (which is basically a rebranding of eOne, a pretty cool indie label that has a lot of stuff I really like), and I didn’t hear anything from this album before it came out. I went into this album totally blind (or deaf, I guess), and I’m happy I did that, because The Place After This One isn’t only their best album in almost 20 years, but it’s one of their best albums period. I don’t know what it’s in the water, but a lot of bands from the last 20 years are releasing some of their best music lately – Fall Out Boy, Bayside, Silverstein, and many more are dropping great records that among the best of their careers.

I haven’t enjoyed an album from these guys this much since 2008’s Lost In The Sound Of Separation, but I absolutely love this record. This album reminds me a lot of the latest Fall Out Boy album, 2023’s So Much (For) Stardust, because that album attempted to go back to the band’s classic pop-punk and alternative sound, but with a modern twist to it that added new elements to their sound to keep it fresh, instead of trying to appeal to the “elder emo” crowd that only wants to hear Take This To Your Grave and From Under The Cork Tree. Fall Out Boy added elements of soul, R&B, funk, and disco to their sound to make it really fun and modern, but Underoath add more pop, electronic, and synthwave sounds to their identity to make for a reinvigorated sound. The album starts off on an explosive note with “Generation No Surrender” that’s a caustic and roaring metalcore banger, and the album has its fair share of those, but it’s the songs that switch things up that I really like. Songs like “Teeth” and “All The Love Is Gone” are less based on metalcore and post-hardcore and they rely on electronic and pop textures. When the album takes risks, it works pretty well, and it’s a nice change from what they’re known for.

Even so, the performances are what drive this record, too; both harsh vocalist Spencer Chamberlain and clean vocalist Aaron Gillespie are two of the best vocalists in the scene period, but they’re also one of the best vocal duos of the scene. They work so well off each other, and their chemistry is palpable, but it’s so nostalgic to hear them play off each other with the “good cop, bad cop” vocal dynamic that they’re so used to. I absolutely love it, and this album is such a fun, engaging, and oddly nostalgic listen, but still feels like it’s new. At only 39 minutes, this record is also short and sweet, and it doesn’t overstay its welcome, thankfully. It knows what it wants to be, so it stays in its own lane, but also experimenting and taking risks here and there. This is easily their best album in almost 20 years, and I’m flabbergasted that they were able to come through with an album this good, because I heard the mixed reactions to their last one. I don’t know what happened, but they came through with this one. If anything, this album shows the band returning to their roots, but doing something new and modern with it, versus just showing us the same tricks. That’s how a lot of these bands are doing it now, and I’m all for it, especially if that means they’re giving us some of the best material that they’ve ever done. Twenty-five years later, and this band is still going strong, and this album is a great addition to their discography.

[jamiemooreblog]

Behind the Shadows: The Saga of Adam the Shinobi

Lord of the Phonk

In the neon-lit underbelly of the internet, where the bass slaps harder than a freight train and the synths shimmer like a mirage, emerges Adam the Shinobi, a masked maestro of the phonk sound—a cultural phenomenon and a harbinger of a new era in underground music.

Who is Adam the Shinobi?

His music speaks volumes: a fusion of Memphis rap's raw energy, G-funk's smooth grooves, and futuristic, cyberpunk aesthetics. A sound that’s both nostalgic and cutting-edge—a sonic assault that rattles your soul and ignites your spirit. But who is the artist behind the music? That’s the million-dollar question, and the beauty lies in the mystery.

Shrouded in shadow, his identity remains a tantalizing secret. Could this be a deliberate choice, letting the music speak for itself? Or is there something deeper behind this enigmatic persona? Perhaps it's a commentary on the digital age, where anonymity allows for true artistic freedom. The allure of the masked artist has always held intrigue, from Daft Punk to MF DOOM—artists who understood that the music could exist independently of the face behind it.

The Tracks That Made the Shadows Move

91 Sliden: A slow-burn masterpiece, this track’s hypnotic bassline will shake your very foundation. It’s perfect for a late-night cruise—windows down, bass up, with city lights blurring past like streaks of neon fire. The sound drips with nostalgia while its laid-back flow embraces the future, an eternal night ride through the heart of a digital jungle.

Sup Foo: A straight-up banger, a braggadocious anthem demanding attention, with lyrics that ooze confidence and swagger. Adam’s flow is smooth, his delivery ice cold. This track makes you feel invincible, ready to take on the world. It’s an anthem for the digital warrior, the underdog who thrives in the shadows.

Regulate the Phonk: A phonk reimagining of Warren G and Nate Dogg's classic, this track is gritty, grimy, and captures the essence of both West Coast and Midwest, with a fresh, futuristic twist. The West Coast vibe is warped into something darker, infusing every beat with the energy of an underground movement that has found its own path forward.

96 Gankin’: A nostalgic trip back to Memphis rap’s golden era, raw and unfiltered. Echoing pioneers like DJ Screw and Three 6 Mafia, it’s a deep dive into the roots of phonk, while injecting it with that Adam twist—stealthy, powerful, and unpredictable. The rawness of the production feels like a call to those who still remember what it means to keep it real.

Just the Two of Us: A more introspective track, showcasing Adam’s versatility. It’s somber and atmospheric, hinting at the emotions hidden behind the mask. It’s a rare glimpse into the soul of an artist who lets the silence between the beats speak just as loudly as the sound itself.

The Ninja Code: Adam’s Philosophy

Adam’s music isn’t just about the beats; it’s a reflection of his lifestyle. He lives by a simple code:

Adapt: Stay ahead of the curve, constantly evolving and innovating. Like the ninja who never stays in one place for too long, Adam’s sound shifts and morphs with the underground, always a step ahead of the pack.

Discipline: Every track, every performance, every detail meticulously crafted. Whether it’s the low-fi crackle of a sample or the punch of a snare, each element serves the greater whole, creating an atmosphere you can’t escape.

Mastery: Strive for perfection, always pushing the boundaries of the genre. In an age where everyone’s a producer, Adam stands out because he’s not just making music—he’s crafting experiences. Every drop is a masterclass in mood and rhythm.

The Mask: A Symbol of Mystery

The mask is more than a disguise; it’s a symbol of Adam’s enigmatic persona. It allows him to connect with his audience on a deeper level, fostering a sense of intimacy and intrigue. By concealing his identity, Adam shifts the focus from the artist to the music itself, creating a deeper, almost spiritual connection with the listener. It’s not just about keeping things mysterious—it’s about giving the audience the space to interpret the music as they wish, free from preconceived notions of who the artist might be.

This approach places Adam within a long tradition of masked artists, such as MF DOOM, whose ability to craft music that transcends personality made him a legend. It’s also in line with the digital age's embrace of anonymity, where the music becomes an extension of the listener's personal journey. In Adam's world, the mask isn’t a barrier—it’s an invitation.

Phonk's Legacy and the Shaping of the Future

Adam the Shinobi isn’t just a rising star—he’s a force to be reckoned with. His unique blend of old-school influences and futuristic soundscapes is shaping the future of phonk, pushing boundaries and inspiring a new generation of artists. He stands alongside innovators like uicideboy$, Night Lovell, Lil Peep, and Ghostemane, whose music is a fusion of dark, distorted production with themes that resonate with a new era of listeners. This generation embraces the idea that music is more than just something you listen to—it’s an experience that moves through you, shaping how you view the world.

My first encounter with Adam's music was pure accident. I stumbled upon "91 Sliden" late one night while scrolling through SoundCloud. The beat instantly hooked me—that hypnotic bassline, the hazy atmosphere, it was like being transported to another dimension. I felt an instant connection, like this music understood the anxieties and aspirations of my generation in a way that nothing else had.

Adam’s music brings an urgent, melancholic energy that feels both personal and universal. Whether you’re cruising the streets late at night or reflecting on your place in the digital age, his beats serve as a soundtrack for a generation that feels both lost and liberated by technology.

The Phonk Revolution Is Now

With his seamless blend of nostalgia and futurism, Adam is pushing the genre forward. He’s reshaping what phonk can be, exploring a space where past and future collide. His music isn’t just a revival; it’s a reinvention. And with that reinvention comes an entire ecosystem of influence, reaching out to listeners and creators alike.

Adam the Shinobi’s movement is a part of a larger underground revival that’s transforming how music is made, consumed, and shared. The DIY ethos that defines phonk—and the underground music scene at large—is driving new creators to use platforms like SoundCloud and Bandcamp, bypassing traditional channels to reach a global audience. Adam’s work has helped to build that bridge, demonstrating that the future of music isn’t bound by commercial expectations, but rather by raw, untapped creativity.

So, don’t just sit back—dive into the shadows with Adam the Shinobi and let his tracks redefine your world. What’s your favorite track so far? Let me know in the comments, and join the ever-growing phonk movement. And if you're hungry for more underground sounds, be sure to check out artists like uicideboy$, Night Lovell, and Ghostemane—they're all pushing the boundaries of what music can be.

#AdamTheShinobi #Phonk #UndergroundMusic #NinjaBeats #MemphisRap #CyberpunkAesthetic #ShadowstepBeats #RegulateThePhonk #SupFoo

---

#New music

[theunderestimator-2]

The Subway Sect Mark II shattered after performing their Club Left 'Songs For Sale' set in Paris in 1981 as captured by Sarah Partridge (photo no.1).

So what did punks do after the early days of filth and fury? By ’78, the early UK punk scene was already fracturing: after the Pistols crashed & burned, a fraternity of post punk musicians attempted to break from punk clichés and experiment with non-rock styles, Crass declared that punk was dead, as did Pete Shelley with Buzzcocks entering their pop punk formative phase while street punk and Oi! Bands attempted to redefine punk.

Vic Godard was there right from the very start, since his Subway Sect were among the performers at the legendary 100 Club ’76 Punk Festival sharing the bill with Siouxsie & the Banshees, The Clash and the Sex Pistols.

theguardian.com/ : “Vic, in league with Bernie Rhodes, was thinking of an even more shocking revolt against conventional taste: cocktail jazz. Rhodes persuaded Godard to ditch the original Sect and hired a fresh group of musicians with a little more swing than the original band. One of the first public expressions of this was Club Left, a regular night that ran at the Whisky a Go Go in Soho as the ‘80s began. The idea was to annoy everyone. But this sonic handbrake turn went on to point a lot of music – and a lot of punks – in a very different direction.”

The Clash’s manager Bernard Rhodes recruited keyboardist Dave Collard (photo no.2 by Coneyl Jay), bassist Chris Bostock (photo no.3 by Ian Usher), guitarist Rob Marche (photo no.4) and drummer Sean McLusky (photo no.5), key members of various Bristol groups, who along with Vic Godard formed a new incarnation of Subway Sect with a completely different sound influenced by ’40s-style crooner music mixed with jazz, soul, rockabilly and skiffle, which was referred to as ‘Cool Bop and Swing’. These cool cats, a London ‘Rat Pack’ with Johnny Britton as the regular Club Left DJ, even toured extensively and their refined set became the “Songs for Sale” album.

“I remember looking down from the club’s floor-to-ceiling window one night just before opening, and seeing a queue stretching round the corner into Shaftesbury Avenue. We attracted an amazingly eclectic crowd, and you never knew who would turn up together with our hard-core regulars…”. Rob Marche “Club Left hosted a weekly array of great performers. If it had an ethos, it was a simple nod to the Beatnik past of Soho and Paris of the 60's”. Sean McLusky

The far-retro Club Left project reintroduced various people to easy listening. Artists such as Sade or the group of young women, who had supplied occasional backing vocals for the likes of Shane McGowan’s first band, the Nipple Erectors, and went on to become Bananarama. When Vic Godard got married and took a break from music in ’82, the rest of the band with the addition of Dig Wayne became the JoBoxers, fusing elements of northern soul, rockabilly, NY disco and funk.

(via, via, via, via)

[cyber-corp]

hello :]

i think someone's asked you your favourite daft punk album before, but if you had to rank all of them how would you do it?

have a nice day!

*in columbo voice* Jeez, I dunno.....

Here is my list (from least favourite to favourite) of the Baft Dunks

Tron Legacy (2010): This is the one Daft Punk album I really don't have much to say about it. I haven't seen the movie itself, and I haven't really listened to this soundtrack either. Derezzed and Son of Flynn are pretty good though.

Alive 1997 (1997): Contrary to what many believe, Alive '97 isn't that boring. It's a pretty good sampling of what Daft Punk concerts were like pre-robot and as a result it's very raw and primitive. In a good way, of course (it was recorded at the Que Club in Birmingham, one of the great bastions of the UK rave scene so of course it'll sound raw). 10 Minutes of Funk and the Daftendirekt remix are a highlight for me.

Homework (1997): Move the gun away from your screen, let me talk for a bit. I really like Homework, and I think a lot of the songs on it are perfect French Touch tracks (Around The World, Fresh, Indo Silver Club, the list goes on). But when I look at that album length I think I die a little. Other than that, an absolutely smashing record.

Human After All (2005): This is the first album on this list that I really love. Maybe it's because I really like repetitiveness, but this album almost acts as a brain massage. Maybe it's because of the robot humming in the title track, or the Madness Mantra style lyrics in Technologic or the calm instrumentations of Make Love, but it calms my nerves down, in a weird way. Give this album a second chance.

Random Access Memories (2013): This was the first Daft Punk I ever properly listened to, and I've got a very distinct memory of it, being in the back of the car on the way to an Elton John concert. The concert itself was alright, but nothing could compare to when I heard Giorgio by Moroder and Touch for the first time. Although we didn't know it then, I think this album serves as a perfect finale. It's an homage to the robot's heroes (prominent features from Nile Rodgers and Paul Williams), and to the ones they inspired (my boys Julian Casablancas and Pharrell are on two of the biggest songs off this album). Makes me tear up a bit every time.

Alive 2007 (2007): Ooh yeah baybee. Da reeeal shit. Literally every single song off this album fits like a fucking jigsaw puzzle. It was so good it made critics reconsider HAA. Television / Crescendolls. Prime Time / Brainwasher / Rollin' / Alive. Human After All / Superheroes / Rock'n'Roll. The list goes ON. There isn't a single moment off this record that I don't remember, especially the crowd, who sing Da Funk somehow. Best live show and best live album.

Discovery (2001): Not a single dull moment off this record. The instrumentation. The virtuoso-level sampling. The visuals. My absolute favourite album from Daft Punk, and my favourite album period.

Conclusion: I really like the funky robot boys.

[funkpunkandpunkfunk]

タオル - 余白

Google translates the band name as "Towel" and the song name as "Margin"

All the info on their bandcamp page is in Japanese so i can't read it but the only non-genre tag on their page is "minutemen" so they go up here and get mad respect for it.

[dustedmagazine]

PYPY — Sacred Times (Goner)

At various points in Sacred Times, PYPY jitters through a fusillade of funk shrapnel a la ESG, chugs a fuzzy freak beat like the Dirtbombs and tears a hole in the sky psychedelic-style. How you think about this veteran Montreal psych punk band depends, largely, on where you put the needle down, but if the form shifts, the intensity stays constant. This is one of the best punk albums of 2024, and not coincidentally, the hardest to pigeonhole.

This is PYPY’s second full-length album, following a decade-long hiatus in which members revisited other projects. Annie-Claude Deschênes, the singer and keyboardist, Phillippe Clement, the bass player and drummer Simon Besré, all did time in noise-freaked, body-shocked, caterwauling Duchess Says. Guitarist Roy Vucino lent his axe to Wire-y, Pop Group-ish Red Mass (and earlier played with CPC Gangbangs and Les Sexareenos, among others). Still, they meet here, a decade later, in seamless synchrony. Careening vocal flourishes, chaotic beats and incendiary riffs flare within locked-down, disciplined structures. Sacred Time is as tight as it is wild.  

Start with the single, “Lonely Striped Sock,” with its lurching bass line, its electroshocked guitar shrieks, its punk goddess deadpan rant. It’s a dead ringer for first wave, female-forward punk bands like ESG and Delta 5—in the best possible way—made fresh and funky by squeaky barrage of keyboard banging (this is literally my favorite sound on the whole record).

The band has a thing about poodles, apparently, dedicating not one but two very different songs to their curly headed canines. “Poodle Escape” rains sublime and radiant surf chords, while a carnivalesque keyboard melody goes soft in the heat. Deschênes whispers ominously in French way back in the mix as a squiggle of sci-fi synth flutters up to the fore. “Poodle Wig” slams and pogoes on a drum machine beat in a Francophile garage rock explosion worthy of Jacques Dutronc. Woof.

Vucino is quite a guitar player, and he lights his instrument pretty much on fire in psychedelic “15 Sec.” a lurid purple haze hanging over its sprawl and mayhem. He sings lead on the Devo-esque “I Am a Simulation” and while not quite as can’t-look-away compelling as Deschênes, his singing another color in PYPY’s considerable palette.

By now you’ve likely gathered that Sacred Times is volatile and wild, taking giant swings in any number of generations. That’s exciting, but even more so because with all that thrashing, they never lose the groove.  What a good time these Sacred Times can be.

Jennifer Kelly

[danielsiegelalonso]

Altering Music Careers: The Benefits and Challenges of Collaborating with Other Musicians | Daniel Siegel Alonso

When two (or more) musicians collide, magic can happen—or occasionally, it's more like a polite, artistic wrestling match. The music industry is rife with iconic collaborations that altered the course of genres and careers, from unexpected partnerships to power-packed duos. But like all things in life, collaboration in music brings both highs and lows. Daniel Siegel Alonso looks at the benefits and challenges of working with other artists with some iconic examples.

The Benefits

Fresh Perspectives

Siegel Alonso points out that when you collaborate with another artist, you invite their creativity and influences into the studio. This injection of new ideas can be what your music needs to evolve. Take Blondie's Debbie Harry and Nile Rodgers and Bernard Edwards of Chic, for example. In 1981, the punk frontwoman teamed up with the duo for her solo debut. The result? A hybrid of genres. KooKoo was one of the earliest fusions of funk, rock, and dance music that would become the trademark of Rodgers and Edwards, and this style would later be evident on albums such as David Bowie's Let's Dance. Harry's punk edge combined with Chic's disco groove created something distinctive—proof that stepping outside your comfort zone can lead to timeless innovation.

Skill Expansion

Sometimes, your collaborators possess technical skills or a level of musicianship that helps you grow. Siegel Alonso says a classic case is musical chameleon David Bowie teaming up with The Donny McCaslin Group on his Blackstar record. Bowie was known for pushing boundaries, and in his final album, he turned to McCaslin's jazz group to elevate his sound. The partnership propelled both parties to explore experimental territory that blurred the lines between art-rock and jazz. Collaborating with seasoned musicians allowed Bowie to embrace an avant-garde sound, while McCaslin's group gained exposure to a new audience. Win-win.

The Power of Reinvention

Collaborating can also help musicians refresh a staid image or explore new genres without fully stepping into the unknown. Enter Dolly Parton's 2023 rock album, Rockstar. At 77, the queen of country shocked the world by teaming up with rock legends like Paul McCartney and Steven Tyler to create an album of hard-hitting covers and originals. Dolly's leap into rock allowed her to break out of country music's constraints while remaining true to her roots as a larger-than-life entertainer. This kind of reinvention keeps musicians relevant and surprising—and Parton's ability to seamlessly navigate a new genre shows just how potent partnerships can be.

The Challenges

1. Creative Control

Siegel Alonso advises that one of the primary challenges in collaboration is the shift from being the sole decision-maker. It's like co-driving a car—you might not always agree on the destination or the path. Collaborations can sour when both parties have assertive, conflicting creative visions. However, managing egos, preferences, and creative direction with respect is critical. It's a delicate balance, but when handled respectfully, these obstacles can lead to a stronger result than either party could achieve alone.

2. Balancing Styles

Sometimes, artists from different genres or styles collide—and it's not always seamless. While Harry and Chic pulled off their genre fusion, not every alliance is seamless. Merging two distinct musical worlds can feel like squeezing square pegs into round holes. If the styles don't gel or someone feels like they're sacrificing too much of their signature sound, the project can feel forced or disjointed.

3. Schedules and Logistics

As ordinary as it sounds, scheduling can be a considerable challenge. Busy musicians often have packed touring and recording schedules, making it difficult to carve out time for collaboration. Even worse, the spontaneity and flow of creative chemistry can get lost when you're working across different time zones or coordinating through emails and Zoom meetings.

Conclusion

Teaming up with other musicians is a fragile balancing act. It can lead to career-defining breakthroughs, as seen in Harry's genre-bending debut with Chic, Bowie's jazz-tinged swan song, or Dolly's genre jump into rock territory. At the same time, it requires compromise, flexibility, and a willingness to renounce one's ego.

While collaboration is not without its challenges, the potential rewards are worth the effort—musicians can explore new sounds, expand their skill sets, and even breathe new life into their careers. So, Daniel Siegel Alonso notes that while it's not always simple, for musicians willing to embrace the unpredictable magic of partnership, the potential upside is nothing short of transformational.

[unicornery]

I think this person and I need to become best friends

YES meets Daft Punk Reviewed in the United States on June 2, 2013

Verified Purchase

I've been listening to this CD for the last 2 weeks while on vacation with family. Not only through my earphones at every chance, but also as playback in my head when I'm bored riding in a car with no tunes. Yes, the tunes are very memorable! When a friend turned me on to Justice a few weeks ago, I started by listening to Cool Cats and then Cross. But Audio, Video, Disco is bar far their best album even with the release of Access All Arenas. I'm old enough to remember the various stages that YES went through and enjoyed them all including 90125 and Tormato which were later releases. Justice reminds me very much of the post Wakeman era of YES, but with a bit of Daft Punk's electronic disco funk vibe added in. As I'm a big fan of all of YES regardess of who was singing or playing guitar. I enjoy Morgan Phalen's singing on selected tracks of Justice's AVD. He definitely has that John Anderson/Trevor Horn lyric tenor. The lyrics might not be as trippy as what was being written by YES or ELP in the era of LSD, but the tight sounds of Gaspard and Xavier of Justice really hit the acid house sweet spot. All said, the album is a tribute to legendary sounds I grew up on but with a electronic twist that makes them fresh and very enjoyable.

One person found this helpful

[eggoverlord]

It's been a bit. I mainly listen to music on my commutes to and from school, so I didn't listen to as much over the summer, but here is my list for summer, June through August

The Soul Children - The Soul Children - Soul

Remain in Light - Talking Heads (as preformed by a mostly cover band with the guitarist from talking heads I saw them live and they did really good also I have already listened to the original) - Post Punk

Animals - Pink Floyd (Covered by Colonial Claypool Flying Frog Brigade also already heard the original same story as previous one) - Prog Rock

Mouth to Mouth - Lipps Inc - Disco

PetroDragonic Apocalypse; or, Dawn of Eternal Night: An Annihilation of Planet Earth and the Beginning of Merciless Damnation - King Gizzard & The Lizard Wizard - Doom-ish Prog Metal. Basically, King Gizzard metal, it's very much them and you can tell (in a good way obviously)

Apollo XXI - Steve Lacy - Alternative R&B

Star Booty - Bitch Magnet - Like early early math rock, punk or grunge sounding almost

Light Of Worlds - Kool & The Gang - Funk

My Sound (1993-2004) - Dillininja - Jungle

G I R L - Pharrell Williams - R&B&Pop

The Origin Of My Depression - Uboa - Experimental Stuff I don't even know

Fresh - Sly & The Family Stone - Funk

Incunabula - Autechre - IDM

Phocus - VHS Head - Music made from VHS tapes (weird electronic shit)

Zen, or the Means Without Ends - Heaven Pierce Her - Yeah, this guy listens to Swans, how could you tell? But fr good music a lot of droning with some chill guitar

Isolation - Kali Uchis - R&B

To Smithereens - Gay Beast - Very Noisy Math Rock

Songs EP (Live In Chicago) - Piglet - Math Rock

Ascenseur pour l'échafaud - Miles Davis - Modal Jazz

Vespertine - Björk - Experimental Pop

The Beggar - Swans - Experimental Rock

Songs For The Terrestrially Challenged - Speaking Canaries - Math Rock

Grievances and Dead Malls - Nero's Day At Disneyland - Experimental Breakcore Shit

From Rotting Fantasylands - Nero's Day At Disneyland - Experimental Breakcore once more

Dream of an Endless Ocean - David Szymanski - Experimental Electronic with a lot of Classical Elements

Don Caballero 2 - Don Caballero - I've already listened to it also math rock

10,000 gecs - 1000 gecs - If you havent listen to the album you wont believe me but. Hyperpop with a shocking amount of nu metal of all things. It goes hard though. Also ska sometimes

Locked Into Phantasy - Laura Bousfield - Experimental Breakcore stuff

When The Pawn - Fiona Apple - Some Kind of Pop and/or Alternative

Songs From The Big Chair - Tears For Fears - Pop of the very 80s variety

Attention Shoppers - Nero's Day At Disneyland - Experimental Breakcore

It Was Written - Nas - Gangsta Rap

A Go Go - John Scofield - Instrumental Funk

Surrender - The Chemical Brothers - Dance (which is one of the least creative genre names)

Ashes of the Wake - Lamb of God - Groove Metal

My War - Black Flag - Hardcore Punk with a bit of Mathy stuff

Anthology - Colour - Midwest Emo

The Blues - BB King - Blues

Celebrity Skin - Hole - Grunge

Something Else (Rudy Van Gelder Edition) - Cannonball Adderley - Hard Bop

Songs In The Key Of Life - Stevie Wonder - RnB

100 One Says - 100 Onces - Mathy Rocky

Superunknown - Soundgarden - Grunge

"Bird" Symbols - Charlie Parker - Bop

Clifford Brown and Max Roach - Clifford Brown and Max Roach Quintet - Bop

Light as a Feather - Chick Corea and Return Forever - Jazz Fusion (re-listening)

Quebec - Ween - Experimental Psych Rock

[marcoshassanlevy]

‘Aquamosh’: Plastilina Mosh’s Weido Pop Masterpiece

The music from this Mexican alternative classic is perfect for a generation that’s grown up on short-form video and eclectic playlists.

Published on May 15, 2025 By Marcos Hassan

During the commercial heyday of Mexican rock, bands made their mark by fusing different genres. Artists such as Caifanes mixed post-punk and arena rock with pre-Hispanic music, while others like Café Tacvba and Maldita Vecindad borrowed elements from ska, punk, son cubano, cumbia, disco, and more. But few artists deftly combined as much as Monterrey’s Plastilina Mosh.

The duo, composed of Juan José “Jonás” Gonzalez and Alejandro Rosso, made wildly exploratory music using both traditional instruments and state-of-the-art tools like computers and samplers. They made their mark right from the get-go with their 1998 full-length debut, Aquamosh. It was an amazingly creative and fun mishmash in which everything from lounge to industrial coalesced into a nearly flawless record. It helped establish Plastilina Mosh as auteurs of experimental hook-laden music that still sounds fresh decades after its release.

Listen to Plastilina Mosh’s Aquamosh now.

Lyn Lapid Covers Pixies Classic, ‘Where Is My Mind?’

Chelsea Hotel: Memories Of Nico, Leonard Cohen, Dylan, Nash, And More

Best Weezer Songs: 20 Pop-Altering Essentials

Plastilina Mosh started in Monterrey, Nuevo Leon in 1997. Jonaz had played in a metal band called Koervoz De Malta and Rosso, a classically-trained musician, played keyboards in the prog-leaning outfit Acarnienses. Both had interest in a wide range of music, from acid jazz to punk.

Around this time, Monterrey was becoming a mecca for music in Mexico. The Mexican rock boom – which started with bands like Caifanes and Botellita de Jerez in the late 1980s – had its epicenter in Mexico City. But as the 90s progressed, attention began to shift to Monterrey, with the G-funk-inspired Control Machete, the power pop-meets-rap rock of Zurdok, the Britpop-leaning Jumbo, the Latin rhythms of El Gran Silencio, and many more. The press dubbed this generation of bands La Avanzada Regia. Loosely translated, it means “The Regal Avant-Garde.” (“Regio” is a nickname for people from Monterrey.)

After signing with EMI, Plastilina Mosh recorded what became their debut full-length, Aquamosh. The album was produced by Tom Rothrock and Rob Schnapf, with additional production from Jason Roberts and Sukia – the latter coming on board after being recommended by the Dust Brothers. (P-Mosh had asked for the Dust Brothers themselves, thanks to their work on the Beastie Boys’ Paul’s Boutique and Beck’s Odelay.)

“We use everything that we have ever listened to and liked,” explained Jonás. “It’s like going to a gigantic supermarket where you pick everything that’s good, and sometimes even some bad items.” That’s apparent from the off. Aquamosh is marked by a devil-may-care attitude, everything but the kitchen sink instrumentation, and a kitsch aesthetic; characteristics that put them in conversation with the aforementioned Beasties and Beck. At the time, Billboard even hyped them as “Mexico’s answer to the Beastie Boys.”

Even so, Plastilina’s sound had plenty of unique elements. The album opens with “Niño Bomba,” their most political track – think Rage Against The Machine if they were raised on DJ Shadow instead of Black Flag. From there, the sound and tone zigzags: “Afroman” inhabits the same galaxy as Digital Underground while “Ode To Mauricio Garces” – named after the Mexican B-movie casanova – delves into bossa-inflected lounge not too far from Stereolab’s gentler moments. “Monster Truck” is a digital blues stomp and “Bungaloo Punta Cometa” could well have been a Butthole Surfers deep cut. The album ends with “Mr. P-Mosh,” a weirdo pop collage that’s the most unclassifiable song on the album. It also became the biggest hit. Featuring boogie bass, aggro-rapping, girl-group backing vocals, harmonica, and a plethora of samples, the song is as irresistible as it is unpredictable.

Aquamosh soon reached instant classic status. Singles like “Niño Bomba,” “Afroman,” and most importantly, “Mr. P-Mosh,” quickly became staples of Mexico’s rock radio while their artfully kitschy videos were in constant rotation on MTV’s Latin channel which broadcasted to all of Latin America. Plastilina soon toured all over the continent as well as Spain, Europe, and the U.S. Outlets such as Spin and Vibe praised the album. Further critical and commercial success came with their contributions to soundtracks for internationally renowned Mexican movies like Y Tu Mamá También and Todo El Poder.

Plastilina Mosh returned with Juan Manuel in 2000, abandoning the adrenaline-inducing punk attitude of Aquamosh to delve into dance music, disco and trip hop, all with their fun-loving anarchic spirit in place. Later, they leaned toward melodic experiments with songs like “Peligroso Pop” and “Perverted Pop Song,” showcasing their ability to make picture perfect power pop without sacrificing their experimental instincts.

After their 2008 full-length album, All You Need Is Mosh, Plastilina slowed down. While the duo never officially disbanded, Jonás and Rosso took time to focus on side projects as well as solo albums. Plastilina would come back periodically to play sporadic shows and release the occasional new single, like “MJLM” and “Controlemos El Fuego (People’s League Version).”

Today, their status as elder statesmen in the Mexican scene is secure. They paved the way for more Mexican music fusionists like Nortec and 3BallMTY, groups that put together genres like norteño, cumbia with electronics, and hip-hop. Much like the Beastie Boys and Beck in the United States, the group’s music predicted a generation that’s grown up on short-form video and eclectic playlists, where hip-hop, corridos, and rock mix together without a second thought.

Perhaps Plastilina Mosh’s biggest contribution to Mexican music, cemented on Aquamosh, is that, with the right attitude, different sounds can coexist.

Listen to Plastilina Mosh’s Aquamosh now.

[thoughtswordsaction]

Interview: Fishbone

Photo by Raymond Amico I had the pleasure of speaking with Chris Dowd – keyboardist, trombonist, vocalist, and founding member of the legendary band Fishbone. With a genre-bending legacy that spans over four decades, Fishbone has consistently defied labels, fusing ska, punk, funk, soul, and metal into a energetic, fresh, unique sound. In our conversation, we dove deep into one of the band’s…