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Tuesday, February 7, 2012
Monday, February 6, 2012
Bangladesh Says Lil Waynes A Milli Changed The Sound Of Music, Explains Beat-Making Process
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Home>News>Bangladesh Says Lil Waynes A Milli Changed The Sound Of Music, Explains Beat-Making Process
The producer also speaks on his biggest influences.
Producer Bangladesh scored one of the biggest hits of his career with Lil Wayne’s
released in 2008, and claims that it had a rippling effect on the future sound of Hip Hop. During an interview withThe FADER, the Atlanta, Georgia-based musician said that the song had a profound impact on mainstream music.
‘A Milli’ changed the sound of music. After that, every beat on the radio was like ‘A Milli’ snares. You hear that all day long. You still hear it, four years later, he said.
He also discussed his beat- process and how he culls sounds from odd places, such as his daughter’s toys or even her voice.
As r as what was from the last beat, I’m onto new sounds. I get rid of those, I put new sounds in. I just get them from anywhere, really. Whenever I hear it. It could be my kid’s toys. It could be anything. It could be a voice. Like I want to sample my daughter, she be that sound. It’s something she be doing, I hear a beat. I chop it, and make a beat. I get tired of it once I leave it. I don’t want to hear music. I don’t put CDs in or nothing like that.
Bangladesh also touched on his influencers, namingOrganized NoizeandTimbalandas some of his vorite producers from back in the day. I was influenced by great producers that rubbed off on me. It’s like Kobe watching Jordan. You’re going to be good if you’re inspired to play basketball and you&rlil waynesquo;re watching Jordan, he’s going to inspire you to be better than what you would have been if you’ve never seen him. I think Organized Noize and Timbaland at the time, they were like that to me. I was like a Timbaland head, an Organized natic. I love the sounds they used. They changed the game at the time, and that influenced me to be a game-changer and producer.
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Thursday, February 2, 2012
Music Review Robin Thicke - Love After War
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R&B croonerRobin Thickehas undergone a scinating transformation over the past ten years. When he dropped his debut album,A Beautiful World, in 2002, the singer billed himself as simply Thicke. Sporting flowing long hair and a grunge look, he gained some notice through his retro 70s tune When I Get You Alone. Due to little publicity, the stellar album sank into oblivion. Thanks to Neptunes producer Pharell as well as rappers such asLil WayneandBusta Rhymes, Thicke received a hip hop makeover on 2006sThe Evolution of Robin Thicke. The ballad Lost Without U became a massive hit, signaling the arrival of a blue-eyed soul star. 2008sSomething Elseleaned heavily toward his strength-updating 70s R&B-but did not impact the charts as much as its predecessor. Therefore his hip hop connections largely dominated 2009sSex Therapy, where he sometimes took a back seat to guests such as Jay-Z,Snoop Dogg, Nicki Minaj, and Kid Cudi.
While his mack daddy persona emerged in suchSex Therapycuts as the title
track, Rollacoasta, and the inmous Shakin It for Daddy, he largely subdues it on his latest albumLove After War.Instead, he concentrates on vocal and lyrical maturity, showing impressive artistic growth in just two years. At 17 tracks,Love After Waris a bit bloated, but it marks a welcome return to his retro soul roots.
As the album title suggests, Thickes album narrates the sometimes rocky road of a relationship. The sultry, bossa nova-kissed title track paints an ugly picture of a fight: Caught in lies, doves cry, doors slam and broken lights/Bottles hit the TV screen, he sings. As with typical Thicke tunes, love eventually wins: Wanna put down our weapons baby/ Lay your clothes down on the floor/ And give me some love after war, his seductive voice pleads. This topic has certainly been covered before, but Thicke adds a layer of sophistication to it through his smooth vocals and chord changes.
UnlikeSex Therapy, Love After Warexplores some of Thickes other inflil wayneluences, including 1960s rock tinged with Memphis horns. An Angel on Each Arm mashes theRolling Stoneswith Stax to produce one his most aggressive tracks yet. It departs slightly from his typical soul man persona, but works well. His voice also demonstrates grit and confidence on the pulsing rocker Animal. The ballad What Would I Be injects some gospel piano and vocals into the proceedings, while The Lil Things incorporates some blues. One could imagineRay Charlesdelivering this delicate tune about a relationships life cycle, from first words and first hurts to memories and golden years. It finds Thicke in a rare retrospective mood, shifting from focusing strictly on graphic uality. Here, he shows maturity by describing how the lil things add up to a solid love story.
Fans of Thickes usual sound-sensual ballads and hip-hop-heavy jams-will not be disappointed with his latest effort. Tears on My Tuxedo resembles Lost Without U in that he employs his lsetto tone over a Latin-themed beat. Here, the lyrics paint a troubled relationship, reaching no resolution at the songs end. I must rely on my instincts cause I cant trust your words or your tears anymore, he laments. Cause just when were about to get down to the truth/ You start cryin bout how life is so cruel to you/ And theres nowhere to go but try and console. While the actual lyrics present a much darker picture than in a typical Thicke slow jam, the tunes lovely chords and his almost fragile voice add a level of seduction. While the album contains r fewer hip hop tracks, Pretty Lil Heart should satisfy those who enjoy his collaborations with Lil Wayne onThe Evolution of Robin Thicke. Thickes creamy vocals and Lil Waynes rap set the y scene, the horns recall 1970s-eraStevie Wonderrather than a rap track.
As the title of his 2006 breakthrough suggests, Thicke is an evolving artist.Love After Warrepresents his constant search for a unique identity-in other words, how can he integrate retro vibes into modern R&B tracks, avoiding the pitll of merely regurgitating 70s soul? Is he a Barry White orTeddy Pendergrass-like loverman, or a classy, restrained old school crooner?Love After Warmay not definitively answer those questions, but it does reveal a maturing talent who clearly wants to address topics beyond ual prowess. Blue-eyed soul and neo-soul enthusiasts who may have been alienated by his last effort should giveLove After Wara listen, and experience the latest stage of a growing singer/songwriter.
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