Heavy rain hit the area this weekend
Soulja Boy was involved in a “very bad” car crash last night after getting caught up in Californian flash floods and mudslides.
The US rapper – whose real name is DeAndre Cortez Way – took to Twitter to say that his car “almost went into the ocean” as a result of mudslides in Malibu.
“Was involved in a very bad car accident last night due to a flash flood and mudslide,” he wrote. The ‘Crank That’ artist also retweeted an image of stuck vehicles, along with the message: “My car got stuck too almost went into the ocean.”
From punk to pop, there’s all manner of treats beyond those show-stopping headliners
Coming at the launch-point of festival season, Coachella‘s line-up is almost always a marker of festy things to come. 2019’s is no exception. From the trio of young headliners – Childish Gambino, Tame Impala and Ariana Grande – representing a new breed of bill-toppers, right down to the bottom rungs representing the finest newcomers around, it’s a promising hint towards festival futures.
Elsewhere, there’s similarly-huge showings from the likes of The 1975, Janelle Monae, Solange, Aphex Twin and more. However, further down the line-up, in the squinty-squinty sized fonts, there’s yet more gold. Here’s your guide to the unmissable hidden gems of Coachella 2019.
We banged on about this lot for the majority of 2018, and with good reason. The Baltimore hardcore bunch changed the game with last year’s ‘Time & Space’ LP, a gnarly bounce through punk, disco, samba and god-knows-what-else. Under the punishing Cali sun, that anything-goes approach is set to be one of the sweatiest sets of the whole weekend.
Yves TumourBafflingly low down the line-up, given how much acclaim September 2018’s ‘Safe in the Hands of Love’ garnered, Yves Tumour’s Coachella appearance is sure to be packed to the rafters with avant garde obsessives and electro-heads alike.
BakarThis Londoner fuses thundering live instrumentals, influenced by his love of old-school British indie, with a fiery, rap-tinged attitude. At times it comes off like Rage Against The Machine had they grown up in South London; others, it’s a warm, human approach to the street smarts of the British rap scene. Whichever he brings to Indio Valley (likely both), it’ll be a breakthrough moment for the British star-in-waiting.
ShameIt seems somewhat baffling that this is Shame’s first appearance at Coachella, given their rising US stature and the near-endless tour the South London lads have been on post-‘Songs Of Praise’. Still, they’re heading Stateside once more, and showing no signs of fatigue. Maybe try a nap after this, though, lads. Please?
By Tom Connick
There are few people we’d trust to know more about the science of partying than Channel Tres. If his scorching debut EP ‘Channel Tres’ wasn’t proof enough, the LA musician tells me that he goes out for pleasure, but it often turns into a research exercise. “If there’s a DJ I like, then I’ll watch how they do their thing – I just love the science behind it all,” he says. “I party hard, bro”.
His EP, out on cult label Godmode [Yaeji, Shamir], is a razor-sharp and thrilling explosion through house, R&B and funk, all topped off with that undeniably breezy West Coast coolness. ‘Controller’, for one, is a smooth poolside jam, while ‘Topdown’ showcases a deeper side of the dancefloor.
At his live shows, Tres combines the feel-good anthems with his findings of what a crowd wants. Accompanied by two dancers, Tres and his squad glide through a set that’s intimate, hella fun and packed to the brim with dancefloor pleasers. He’s putting that research to good work, clearly.
When Tres came to the UK in October, we caught up with one of the scene’s most intriguing new artists, to find how he went from folk beginnings to getting FaceTime-d by Elton John, via a little bit of homework.
Who was the first artist you really connected with and wanted to emulate?
“Andre 3000, for real. When ‘Speakerboxx/Love Below’ [Outkast’s fifth album] came out in 2003, that album really fucking inspired me. It was him and Kanye West with the ‘College Dropout’ and ‘Late Registration’. Those were two guys I could connect with, because I wasn’t a hard, gang-banging type of guy. Like, I’m hood, but I wasn’t aggressive. So it was good to see people in music that looked like me and they didn’t have to be all hard to make good music, they were just regular dope dudes.”
What was your early musical output like?
“I made folk songs. I was into Animal Collective, Toro Y Moi, Bon Iver – it was like chillwave mixed with indie. Being in Oklahoma, which I moved to when I was 20, inspired a lot of my early stuff. There was country, folk and all that shit, so a lot of music that I produced early on was really influenced by that.”
Why did you leave Los Angeles for Oklahoma?“
I just needed something different. The mind-set where I grew up was very limited and it was hard to get out of the bubble I was in. I knew I needed to go to where nobody knew me and that I had a different type of mind and I wasn’t around a lot of people that could accept that and it wasn’t very encouraging. I wanted to study and make music but it needed to be somewhere new.”
Do you look back fondly on that time?
“Most of my time there was spent on my own, so it was a fairly lonely time. I’m so happy I made that decision though, as I could run my own show and not have anyone tell me what to do. It was just my thoughts and I and knew what I had to do. My goal was: I’m not leaving here till I fucking finish studying and learning how to be the best artist I can be.”
How did you go from that sound to where you are now?
“Those songwriting elements and influences are still in there, I just learned how to tighten it up more how to use the microphone to do different things with my voice. A lot of my early songs it was all over the place.”
“Nobody knows me now, I think, but at least I’m on the ladder”– Channel TresWho in the dance scene do you look for inspiration from?“From the dance scene, there’s LCD Soundsystem, Disclosure, Kirk Franklin and more from that world. Then there are hip hop guys too – like Lil Uzi Vert, Travis Scott – who influence me – it’s a lot.”
How did you get on Godmode’s radar?“
I would put all these little EPs out on Soundcloud, that’s how Godmode found me – they really didn’t gain much attention. I took them down after we started working on this because I knew that when I was going to put out this EP it was going to be a completely different moment for me. This EP felt more special than something that I’d been working on in my bedroom and throwing it on Soundcloud. I just took that stuff down so I could start over because nobody knew me. I mean nobody knows me now, I think, but at least I’m on the ladder.”
Judging by the EP, the club is where you feel comfortable?
“I party hard, bro. I like going out, learning and seeing how people are moving to certain grooves. If there’s a DJ I like, then I’ll watch how they do their thing – I just love the science behind it all.
“I wanted to emulate those experiences when I play live, so it’s just me, two dancers and a Moog synth – but most importantly it is all about working the crowd. I’ve been in dance classes for the past four weeks for 6 hours a day and understanding the relationship with my body to work out how to do that.”
It’s landed you some big fans, right?
“Elton John FaceTime-d me about ‘Controller’, bro – he just hit me up. Elton was telling me I was different and a professional and he sees big things for me. Iggy Pop played it on his show – those are my two guys. That was an unreal thing to hear from those two.”
Channel Tres’ debut EP is out now.
By Thomas Smith
Founded in 1993 by Scott Kirkland and Ken Jordan, it’s incredible to think that The Crystal Method has been supplying the world with eclectic waveforms for over a quarter-century. Today marks the release of The Crystal Method’s sixth studio album, The Trip Home. However, there’s something particularly special about this aural entrée; this is the first album release since Ken Jordan left the duo in 2017.
The Raze’ kicks off the LP with Le Castle Vania in the form of a cavernous, brooding, slightly disconcerting collaboration that hits all the right notes of what we love about The Crystal Method. Blood pressure stays elevated with ‘Holy Arp’, the LP’s first single; though it might be a different shade of holy than your mother’s typical Sunday, it’s a divine offering of synthesis all the same.
A personal favorite, ‘Ghost in the City’ is all juice and no play. Magnificent, crushing bass arrangements, a seductive topline from Amy Kirkpatrick, and driving melodies all coalesce for that classic crystalized perfection we know and love. Throughout the release we’re met with dreamy oscillations, classic hip-hop breaks interspersed with atmospheric meanderings, and the eclectic nectar of 90’s legend penetrating the veil of 2018’s soundscape.
‘Carry On’ is a pillow for our weary minds, serving as a gorgeous intermission before the album takes on a loftier expression of introspection. The hands of Matt Lange and Justin Chancellor are all over the juicy center of ‘Cabin Pressure’, stirring up scenes of a back alley New York City crime chase that flows into a charging ballad with Franky Perez on ‘There’s a Difference’.
Preparing the LP for an uplifting resolution is ‘Hold on to Something’, before dropping into the final, thoughtful expanse of ‘Let’s Go Home’. This last one is prime for a late night cruise down your favorite street, roaring past strobing lamplights as fond memories of the past are replaced with dreams of what’s to come.
Overall, The Trip Home is a glorious addition to The Crystal Method’s storied discography with decidedly cinematic tone. Somewhere along the 12 track journey, you may come to realize your brain has been sucked through your earholes and you’ve got a little more pep in your step, strangers are smiling your way, and you can finally sense the slight crisp of fall in the breeze. No, this isn’t the onset of dementia, rather the afterglow of a truly exquisite production from one of our genre’s greatest minds. As a not-so-newly minted solo moniker, Kirkland’s Crystal Method understandably spins a subtly different twist without Jordan’s production efforts.
Don’t forget The Crystal Method is still embarking his North American tour in celebration of The Trip Home, and tickets/dates can be found here.
Normani Kordei wants her new music to genuinely connect with young women.
The singer rose to fame as a member of the girl group Fifth Harmony but is now pursuing a solo career. Normani’s upcoming debut solo record is set to include collaborations with Missy Elliott, Calvin Harris and Kehlani, and the star is hopeful that lots of her material will resonate with her female fans.
“I like to write whenever I’m going through something,” she told Rolling Stone magazine. “But it definitely varies; I’ll have my not-so-amazing moments, and I’ll have my confident moments, but the important thing for me throughout the album process was to make sure that I’m making a body of work that women are genuinely able to connect to. I want women to really hear (themselves) in my songs.”
Normani, who has already scored some success with a song with Khalid entitled Love Lies, is also setting out to break away from her popstar persona with her own record. However, she is hopeful that her Fifth Harmony fans will continue to support her projects.
“I look at my core fans and see how loyal, dedicated and committed they’ve been. How they’ve rocked with me from the beginning. I just want to live up to those expectations,” the 22-year-old shared. And when it comes to music, Normani cites Beyonce and Nicki Minaj as two of her greatest inspirations, along with a string of other icons. In fact, she always saw herself as the “performer” of the group when she was part of Fifth Harmony along with Ally Brooke, Dinah Jane, Lauren Jauregui and Camila Cabello.
“I was the performer. I wanted to be like Michael Jackson was, Beyonce. Britney. I wanted — and want — to be like Janet Jackson. I feel like that was kind of my role in Fifth Harmony, to be the entertainer,” she added.
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