Before the year is over, Hudson Mohawke has one final instrumental to share with us. 

Inspired by John Carpenter’s 1981 movie “Escape from New York”, Mohawke’s synths are pretty close to the original and give you that same eerie feeling as the movie did. 

The track is featured on  the 7th annual LuckyMe Records advent calendar, which offers a free download every day from December 27 to January 6. Mohawke had one hell of a year, and we can’t wait to hear what he delivers in 2016. Check out the track below. 

The post New Music: Hudson Mohawke – “Escape” appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Photo by Martin Blondet

Manhattan’s Webster Hall swelled with anticipation last Wednesday as Hudson Mohawke stealthily approached the DJ booth, soaked in fog and purple lighting, accompanied by thin layer of watery synths. With this night being one of the last of Red Bull Music Academy’s month-long string of events in New York City, expectations were high, and the question of who the “friends” the headliner was supposed to bring out had rumors buzzing.

After an energetic performance from NY-based rapper and producer Le1f, HudMo’s calm was a counter-intuitively exhilarating change of pace. Rather than going for a sucker-punch high-energy opener, HudMo caught the crowd’s curiosity with his slow-building, majestic remix of Bjork‘s “Virus.” Many shouted anxiously for a “drop.” Others, trusting in HudMo’s subtlety, let themselves take the bait, listening intently for his next move. All were pleased to hear the Glaswegian producer’s more melodic sensitivities be followed by his dark side, transitioning into the menacing “100HM,” originally conceived as a Rick Ross instrumental. Hudson Mohawke’s versatility doesn’t only make for a unique live performance: in the past few years, it has established him as a key player in both the electronic music scene and, most recently, in the world of hip-hop.

Hudson Mohawke is currently in an artistic Goldilocks zone that most producers could only dream of. His first taste of recognition came with his collaborative project with Montreal producer, Lunice (TNGHT). Their self-titled EP, released in 2012, was two steps ahead of the game, being one of the first instances–and certainly one of the best–in which the Southern trap sound was fused with electronic music. It was this project in particular that caught Kanye West‘s attention, who signed HudMo to G.O.O.D. Music’s production wing early last year. HudMo has consistently brought his precise and hard-hitting style to G.O.O.D. Music’s table, receiving production credits on the Cruel Summer compilation and on West’s last album, Yeezus. Though HudMo refrains from labeling his music, his use of 808s, fat synths, and distorted vocal samples made for a deadly combination that greatly popularized the trap sound within the EDM community. It’s safe to say, however, that few producers who adopted the sound have managed to do it as creatively as Hudson Mohawke. Of course, the Webster Hall crowd was well-aware of this as they bounced to TNGHT-bangers like “Goooo” and “Higher Ground.”

As HudMo rocked out with his signature slightly-off-beat head bob to one of his own 808-heavy tracks “Chimes,” a familiar voice suddenly began crooning over the blasting horns. Houston rapper and fellow G.O.O.D. Music signee Travi$ Scott rushed the stage, stomping wildly, dapping up fans and singing a hypnotic tune: “She in love with the party…” After allowing a moment of silence for the audience to soak it all in, Scott baptized the crowd with a water bottle and growled furiously into the mic as the opening to his titanic single “Upper Echelon” blasted. Remaining on stage for a few extra minutes to continue hyping up the crowd, stage-diving and giving his t-shirt away to one lucky female, Travi$ Scott’s electric performance proved to be tough act to follow for HudMo’s second guest, Bodega Bamz. The Harlem MC performed unreleased material with great enthusiasm and charisma, but was somewhat lost in Travi$ Scott’s dust cloud.

After expertly leveling the slight dip in energy, teasing the crowd with a snippet of his latest collab with Yeezy, “God Level,” HudMo was joined on stage by Antony Hegarty, front man of chamber pop band Antony and the Johnsons, in the form of a ghostly silhouette haunting the back of the stage. Hegarty swayed gently as she sang an eery melodic number, later revealed to be an unreleased song produced by HudMo. While being by far the oddest choice of guest performer, those who’d learned from the intro knew that this was only a quiet before the storm. Making sure to finish on a high note, HudMo threw down three classics in a row, “Cbat,” “Thunder Bay,” and “Fuse,” which he then topped off with his cheerful, clubby remix of Duck Sauce‘s “NRG.”

Tongue firmly in cheek, HudMo walked a few feet away from the booth, pointing at his watch apologetically, knowing full well that he had us in the palm of his hand. Murmurs of “Kanye” and “Bjork” could be heard throughout the crowd, but he would not save his encore song for something that wasn’t all the way him, and rightfully so. Few artists are bold enough to finish a set with something that will challenge rather than appease their fans. The unreleased song’s pounding buildup resembled a punk beat played on drums forged by the gods. The “drop” (if you can call it that) was awe-inspiring. With no signature HudMo style rapid-fire snares to be heard, a sublime tidal wave of harmonic synths washed over the crowd, crashing and fading, with HudMo disappearing into it. While some remained milling around, clinging to hope that Kanye would make an appearance, most left contently knowing that the silence was only yet another set up for the many things Hudson Mohawke still has in store for us down the line.

The post Concert Review: Hudson Mohawke Is Full of Surprises appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Don’t look at this as a “best of” list. This is simply an impromptu assembly of dope beats, as experienced by people who think of instrumentals as more than blank, dead canvasses for rhymes. Instrumentals are alive. Read some accounts below.

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“I’m In It” – Kanye West. Produced by Kanye West, Evian Christ, Dom Solo, Noah Goldstein, Arca and Mike Dean.

The alternating piercing moans coupled with deep, vibrating synths create one of the most unconventional beats out there, and the thumping vocals of Assassin complement everything for an electrifying, jarring track. There’s no telling how many babies will be made to this song. Or how many abortions will occur to it.

“Suicide” – Pusha-T. Produced by Pharrell Williams.

Pharrell‘s beat sounds like something out of a video game, a mishmash of dissonant tones and otherworldly drums, not to mention the occasional single syllable uttered from an unrecognizable vocal sample.It’s a true exercise in sonic A.D.D. We know that Pusha plus Skateboard P has always been a solid combination, but this genuinely sounds like “something the world has never felt before.” [Editor’s note – Props to you if you get that reference. S.K.]

“Where He Get It” – Chief Keef. Produced by Sonny Digital, Southside and MetroBoomin.

This track is one of the most finely-tuned clusterfucks ever made. With more space, we could get into its nuances, its subtleties, its overwhelming atmosphere, and the seamless presence Keef finds within those elements, but for now we’ll just say that it’s basically the most fearless instrumental of this year. It’s heavy-handed in its inclusion of so many competing leading sounds and daring in its execution. There’s no telling how so many sounds can be made to actually work together, but it happened.

“MC ILLIN” by MondreMAN. Produced by Al Jieh.

Jieh creates a watery strength for Mondre on this track. Hints of G-Funk with contemporary technicality, Jieh‘s work ripples to its own propulsions. #bubbly

“Run The Jewels” – Run the Jewels. Produced by El-P.

This shit can knock down buildings. Don’t be surprised if this song starts to replace wrecking balls.

“Tom Ford” – Jay-Z. Produced by Timbaland and J-Roc.

Fuck Yeezus, this is what hip-hop from the future will really sound like. Every single component in this robo-gymnastic beat sounds hand-picked, unique, bananas. Timbaland‘s hard drive should be a national treasure.

“King Push” – Pusha-T. Produced by Kanye West and Sebastian Sartor.

Perhaps it was the rumor that Joaquin Phoenix produced “King Push” that made its initial unveiling feel like a unicorn sighting, but the fervor the beat creates is solely a byproduct of its megalomaniacal feel – like capturing bravado in a bottle. Produced by Yeezy and an unknown beatmaker named Sebastian Sartor, “King Push” is proof that you don’t need a big name behind the boards to create a certified banger. And that squeaky noise at the beginning is critical.

“Blood On The Leaves” – Kanye West. Produced by Kanye West, Hudson Mohawke, Lunice, Carlos Broady, 88-Keys, Arca and Mike Dean.

When you integrate a sample of Nina Simone‘s rendition of “Strange Fruit” with TNGHT‘s “R U Ready” you get a supernatural experience that induces a pure sonic euphoria. When you chop the aforementioned elements into an interpolation of C-Murder‘s “Down 4 My Niggas,” you get something else entirely – something completely and utterly existential. “Blood On The Leaves” is a hodgepodge of rare and strange ingredients unified to create one of the finer reinterpretations of sound in recent memory. Truly.

“Pound Cake” – Drake. Produced by Boi-1da and Jordan Evans.

The beat literally gives you goosebumps every time you hear it. You can play it a thousand times, and it feels like the first time you heard it. The Wu Tang sample is genius, and adds to the smoothness of the beat even more. Have Canadians always been this good at music?

“Palm Trees” – Flatbush Zombies. Produced by Erick Arc Elliott.

Flatbush Zombies architect, Erick, constructs a hypnotic, eerie, and incredibly catchy instrumental that is both laid back and energetic. Palm Trees is the perfect groove for Meechy and Juice to explore and the perfect replacement addition to your parent’s reggae playlist.

“My Yout” – Joey Bada$$. Produced by Chuck Strangers.

This instrumental is a prime example of West Indies meets Brooklyn. Or better yet the West Indies influence that is already infused within Brooklyn hip-hop. It’s reggae-dub with a hip-hop twang and serves as a testament to Joey Bada$$‘s Caribbean roots. Melodic and intricate, it’s a top record on the generally impressive Summer Knights mixtape.

“Flip Ya” – Action Bronson. Produced by Party Supplies.

The sample of Junior Walker’s rendition of “Wishing On A Star” is what sets this instrumental off so nicely. The wailing saxophone, heavy bassline and faint background singing are the perfect compliment to the vivid rhymes by Bronson and Retchy P. In all honesty it should’ve been a longer song. As is, it just isn’t enough. We need more backflips!

“Portlyn” – The Stuyvesants. Produced by The Stuyvesants

The beat is just so damn smooth. It almost seems like it was made for cruising the streets on a warm summer night — just riding without a care in the world. A real 70s, blaxploitation feel to it. Good shit.

“Work” – A$AP Ferg. Produced by Chinza and Fly Beats.

No matter if you hate the song at this point or still go hard for it, the instrumentals is supremely powerful and that bass will always knock. Plus, Ferg‘s chanting at the beginning of the song could probably wake the dead. And yes, that chant should be considered apart of the instrumental.

“Black Skinheads” – Kanye West. Produced by Kanye West, Daft Punk, Gesaffelstein, Brodinski, Mike Dean, Lupe Fiasco, No ID, Jack Donoghue and Noah Goldstein.

When Kanye first performed the track on Saturday Night Live, it felt like a moment. We’d heard ‘New Slaves’, and as impressive as that song is in itself, ‘Skinhead’ is a beast all in it’s own. Kanye‘s lyrics – attacking and revolting – are still overshadowed by the power of the track behind them. Again, watching Kanye perform ‘Black Skinhead’ on SNL felt like a moment, but the beat was eternal. That militant percussion genuinely makes it sound like Kanye has an army behind him.

“Contemporary Man” – Action Bronson. Produced by Party Supplies.

Rumor has it that this is the first song Action Bronson and Party Supplies ever recorded together. If the legend is true, then it was a brilliant look into the crystal ball. Bronson‘s at his best when his spitting his cartoon-lifestyle-bars over Party Supplies‘ ever-sampling beats, and hearing the self-proclaimed “young Tom Selleck” go in over an assortment of 80’s hits feels like soul mates finding their better half. This was a match-made in hip-hop heaven, and we’re so, so glad they found each other.

“Orange Juice” – Vic Mensa. Produced by Cam.

It’s hard to see a song named “Orange Soda” and not immediately think of Kel from Kenan & Kel. Like the memorable TV show, “Orange Soda” is bright and bubbly. Synths rise like the heat on a summer day while the bass moves fluidly and freely like a nice breeze. It’s a near-flawless setup for the upbeat and vibrant delivery of Vic Mensa: the rap game’s Kel. Who loves “Orange Soda”? I love “Orange Soda.” I do, I do, I do–ooo!

“Go All Night” – Kelela. Produced by Morri$.

It’s an unspoken fact: any song that includes a sampled crowd “Hey,” is bound to be great–especially if it’s an R&B/soul/whatever-exactly-it’s-supposed-to-be  song. It’s as if Morri$ knew what this song was destined to be: an after hours banger where you’re huddled up close to someone you just met at the club. Will you leave with them when the lights turn on? Will you at least get their number? Maybe, maybe not. You’re more concerned about the twilight synths leaving your knees weak, and those 808s ringing in your ears.

“Gas Pedal” – Sage the Gemini. Produced by Iamsu.

No words are needed. Hell, are words even possible? This beat is groundbreaking.

“Fuck That Nigga” – DJ Mustard. Produced by DJ Mustard.

Let’s keep it 100: Mustard soundtracked 2013. People say that he makes the same song over and over again, yet rappers keep calling him for beats. Explain that.

“Torture” – Danny Brown. Produced by Oh No.

On “Torture” Danny Brown takes some time out from being on Adderall goofball order a grim picture of his past life. Oh No provides a beat that seems more suited for Ghostface than Danny, but the Detroit spitter delivers his most in-pocket performance ever as he details a life plagued with horrors. The beat here alone is enough to give you coke-fiend nightmares.

“Hoarse” – Earl Sweatshirt. Produced by BadBadNotGood.

The beat feels like a tornado mixed with a black hole, growing in intensity, consuming everything, yet somehow pushing me away. That feeling, plus the Wild West sound effects give the song an acute loneliness that truly haunts. But it’s weird because it feels you’re haunted by an absence rather than a presence.

“Enemy” – Kelela. Produced by Nguzunguzu.

Nguzunguzu really put some work into that beat. It’s reminiscent of Portishead‘s “Machine Gun” in terms of how it demands your attention. It’s very militant and forceful, especially with the random pauses. It feels like someone’s marching toward you with a knife. Beyond how it makes you feel though, it’s amazing how so many of the elements of the instrumental are just plain unpredictable. How in the world did Kelela write lyrics to this?

The post RESPECT. Roundtable: Our Favorite Instrumentals of 2013 appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Kanye West’s sixth studio album, Yeezus, leaked four days before its official release on June 18^th, 2013. Guess who didn’t give a fuck? Kanye West. After months of anticipation, a star-studded listening party at NYC’s Milk Studios, and a brash and refreshing marketing strategy of public video projections, Yeezus reached the masses early and illegally, yet the world got almost no response from the Chicago MC.

This nonchalant reaction not only solidifies Mr. West’s opinion about the leak – as well as the album cover itself – but it also represents his approach to the new LP as a whole. “How much do I not give a fuck? Let me show you right now, ‘fore you give it up,” West raps in his exaggeratedly nasal voice, just one minute into the album’s opener, “On Sight“. ‘Ye is already letting everyone know that he’s going to do what he wants on this album, with no apologies. And as the above lyric cues “On Sight”‘s techno barrage to let up and reveal a sweeping soul-ish melody reminiscent of his past work, West’s brash aversion to convention pays off. Beautifully.

“On Sight” gives us a little taste of the Kanye we’ve known in the past, easing us into his new world with a head-nodding, futuristic-sounding banger à la “Stronger” that quickly changes directions as the track morphs into a sharp and warbled electronic shrill. Once this discomfort has slightly set in, “Black Skinhead”  comes at us full throttle. The track is the highlight of the album, effortlessly combining gut-wrenching electric guitars with militant, almost ceremonial drums.  Better yet, Kanye’s flow is in a rare double-time that makes his neurotic shrieks even more compelling. (Trivia: he probably hasn’t flowed that fast since “Get Em High“)

The third track, “I Am A God” continues with the same strength as “Black Skinhead“, with ‘Ye declaring himself a “close tie” to Jesus. Understandably, the song has raised a bit of controversy, with many opposed to Kanye presenting himself as a deity. But listening closely to his tone as he snarls those four words, it seems as though Kanye is declaring his status as a god to both the listeners and himself. Furthermore, beyond those four words, it’s important to note the line, “Until the day I get struck by lightning, I am a God.” Even when he’s elevating himself to the heavens, Kanye still seems to be wary of going too high because maybe there actually is someone above.

The production on the album is constantly complex and often schizophrenic, weaving both seamlessly and abruptly between dark House music, distorted dancehall and maximal EDM. This raging mixture of blown-out bass and disparate noises is honestly like nothing else we’ve ever heard from the Chicago rapper. It is not uncommon for rappers to attempt to cross genre-boundaries and it is very common for producers to violate these boundaries (if they even believe in them), but Kanye genuinely seems to have built this album’s soundscape with pure openness. The production credits for Yeezus are notably extensive for an album without live instrumentation. Moreover, artists with very loose hip-hop affiliations seem to have had significant roles.

Nevertheless, perhaps this openness should have been reined in a little bit. Take “Blood on the Leaves,” for instance. Sampling Nina Simone‘s cover of “Strange Fruit,” a song about lynchings of Black males in the South, Kanye samples TNGHT‘s “R U Ready” and creates a song that’s chilling, yet impossible not to dance to. It’s easy to view the sample as the work of a provocateur, but if nothing else, the album is absolutely a gesture in sincerity. In other words, Kanye actually does think it’s okay to conflate lynching with relationship problems. If that sounds absurd to you, that’s because it is. But how could Kanye think that comparison is okay?

That question brings us to Yeezus‘ lyrics. Lyrically, Yeezus isn’t particularly evocative.  Kanye familiarly raps about luxury life on songs like “Send It Up”, women on cuts like “I’m In It” and “Hold My Liquor”, and loss on “Guilt Trip.” Even when these familiar topics are paired with new interests like the youth of Chicago and the contradictions that come with being a black celebrity, the lyrics aren’t particularly rewarding. The real reward of the album is its affect. Even when Kanye is comparing lynching to relationship problems, despite the absurdity of this comparison, the atmosphere of the song, how it makes you feel, is overwhelming. In fact, Kanye seemingly makes the comparison because of how he feels. For him, affects, feelings, can be equated in ways that words (or realities) cannot. Thus, he doesn’t ask us or convince us to feel a certain way by using clever lyrics: he makes us feel a certain way by pairing two disparate sounds and forcing them to work. That is the strength of “Blood on the Leaves” and the overall strength of the album. Kanye has learned to use sound to command listeners to feel a certain affect regardless of how that affect was created.  A cynic might say he really is a God.

The last track on the LP, “Bound 2”, is a journey into nostalgia. From the moment the sample of Ponderosa Twins Plus One‘s song “Bound” begins playing, it’s like time- traveling into the 70’s. This final song is a true treat, because it takes us all the way back to ‘Ye’s College Dropout days, when he pulled samples from some of the greatest singers to bless our ears, including Chaka Khan and Luther Vandross.  Mr. West’s rhymes are what we’d expect from him, but the singing throughout the track is what makes it exceptional. To put the icing on the cake, ‘Ye lets Charlie Wilson belt out, “I know you’re tired of loving…with nobody to love.” It’s a very comforting ending, especially in comparison to the atmosphere that preceded it.

Yeezus lacks a teddy bear or anything closely resembling one, but Kanye West remains embraceable. In fact, Kanye has grown even colder since “Cold,” but perhaps that’s the point. Yeezus doesn’t have have to give a fuck about us for us to give a fuck about him. He’s a god.

The post Album Review: Kanye West – Yeezus appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

You can’t have a cookout without good food and you can’t have a pool party without a swimming pool, but those things are never enough to keep the party going. After awhile, bellies get full and people want to dry off. The only way to keep them enthused all night long is to have some good ass music. The summer isn’t here quite yet, but we’re getting prepared early.

5) Robin Thicke ft. Pharell & T.I. – “Blurred Lines”

Only an expert or a drunken fool could find a way to twerk to “Blurred Lines,” but partying isn’t only about twerking. While the video is NSFW, the song itself is socially acceptable anywhere. The subdued, calm vocals and upbeat instrumental are perfect for creating that flirty atmosphere where people can mingle casually without feeling pressured because everyone around them is grinding in a drunken frenzy. Plus, it’s a Robin Thicke song so you can play it at your mom’s barbecue without causing a controversy.

4) A$AP Rocky ft. Skrillex & Bird Nam Nam – “Wild For the Night”

“Fuckin Problems” is out, but don’t count out the man behind it. “Wild For the Night” sits at the intersection of things that are really in right now: Skrillex and deep voices. The song can get a little dull toward the end, but a good DJ will craft the playlist in a way that keeps the energy alive.

3) Major Lazer ft. Elephant Man & Opal – Wind Up

This song is all over the place, but only because it wants you to be. Be warned: this is not a party starter. If you play this too early, your guests will eat all of the hot wings and depart, posthaste! This is a song that should be played right before the party meets its peak. Few things on your playlist will be able to match it, we assure you.

2) Danny Brown x Trampy – “Express Yourself”

This is not the “Express Yourself” by N.W.A. that you know and love. Full capabilities will be shown, but not on the microphone. Danny Brown is doing some serious work right now when it comes to making people #turnup. His screeching voice can’t be handled by all, so some people will stop dancing, but for the people who know what’s up, insanity will ensue. Make sure no one is on or near the pool ledge. There will be elbows.

1) TNGHT – “Acrylics”

It takes a resilient DJ to drop “Acrylics” at a party. There will be hateful stares and some people will even approach the DJ booth shouting, “What the fuck is this?!” but be strong, oh brave one. When that beat drops so will panties, inhibitions, frowns and boxers. Exercise caution.

The post 5 Potential Summer Anthems appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Photo by Laura June Kirsch

On “Where My Money,” Royce da 5’9 asks a provocative question: “Now who gives a fuck about who bars the hardest/When the DJs think they’re bigger stars than the artists?” There is no clear answer to this question, but its premises are useful. Royce thinks that DJs are stepping out of line and becoming too self-important. That might be true, but given the reception of TNGHT’s recent performance at Webster Hall, the recent growing popularity of DJs seems to be less of a collective shift in DJs’ egoism and more of a collective shift in what fans actually want to hear (and do) at concerts.

“Fans of what?” you may ask. This is precisely where TNGHT gets tricky. Though the duo is signed to Warp Records, the members – Lunice and Hudson Mohawke – have affiliations with LuckyMe, Night Slugs and G.O.O.D. Music. They also have roots in the underground scenes of Montreal and Glasglow, their respective cities of origin. Finally, making things even more complicated is their role in popularizing the revival of trap, the formerly waning and currently vibrant musical aesthetic of early 2000s Southern hip-hop. Because they sit at this peculiar intersection of disparate scenes and sounds, the only way to genuinely answer who their fans are is tautological:  fans of TNGHT are fans of TNGHT.

A woman next to me asked, “Is this hip-hop?” Yes, but it’s also something else. Lunice formerly claimed that the aim of TNGHT is to dive “straight into mainstream rap music,” but there’s no way to comfortably call what they’re doing just hip-hop. The fact that the question is even posed speaks volumes.

Their music speaks volumes as well. Many volumes, in fact. Their set is characterized purely by peaks and troughs. Dancing to their music is like interval training on a stationary bike. “ACRYLICS,” their latest single, embodies this mark most vividly. The song oscillates between dreamy twinkles and explosive synths and bass. “Explosive” is the key word here because there is no real build-up: the peaks just happen. The only thing that sustains you in between these highs and lows is pure anticipation. It’s interesting to see this play out live. Anticipating the highs, people stopped dancing and longingly stared at Lunice and Hudmo for direction. They really didn’t know what to do! Other people complained: they wanted to dance non-stop. (Translation: they wanted to hear what they wanted to hear)

Their complaints weren’t unheard. TNGHT loves to play with the audience’s expectations, but they were not authoritarian. If anything, they were fairly obliging. Although the songs they make embody the disparate traditions that they skillfully patch together – “Higher Ground” is the example par excellence –  they were willing to please their constituents one demographic at a time. While Lunice’s “Panera Bread” pleased the hip-hoppers at the expense of everyone else, it was balanced by a later nod to the EDMers, with “Treat Me Right” by Keys N Krates.

While the music spoke and the audience spoke back, the stars of the show were rather mute. Sure, Lunice occasionally got up from his swivel chair – yes, he had a chair – and madly directed the crowd like some sort of crazed classical conductor, but there was no further communication; Hudmo was behind his computer the entire time. They probably didn’t even have microphones. Still, they were the main attraction. This kind of self-effacement stands in direct opposition to the DJs that Royce mentions and perhaps that’s why TNGHT is so damn likeable: at the end of the day they’re all about the music. There were no audio watermarks saying, “TNGHT made it” or some other quickly annoying phrase. Their trademark is simply the music itself. And that’s precisely why TNGHT has made it.

The post Concert Review: TNGHT Perfects DJing at Webster Hall appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Last month we introduced you to the first episode of HASHTAG$, the new YouTube series from Red Bull Music Academy. HASHTAG$ does a great job of finding musicians, singers, producers, and artists of all kinds to talk about their so-called music subcultures. Specifically, the series focuses in how the world wide web has influenced the growth and development of today’s new sounds like #PostDubStep, #Seapunk, #TumblrWave, and whatever else you can think of.

However, no matter how good Red Bull is at getting up close and personal with you’re favorite internet genre scene, its important to remember the reoccuring theme evident in the title of each Hashtag$ episode: Don’t call it [insert popular internet genre here]! No matter how cool you think you are making references to the Seapunk scene, chances are, your favorite artist does not take their label as seriously as you do. If you’re really about that life, then you’re about that life — no need to slap a name on it.

So, thank you Red Bull, for being the YouTube version of a blatant oxymoron, by telling us not to mention the #Name of our favorite internet music genre, while presenting a 15 minute document on that said genre. Take a look at the all of the Hashtag$ videos to date, exploring the inside world of contemporary underground internet music; just be sure never to call it that.

The post HASHTAG$ New Episodes: #PostDubStep, #Beats, #TumblrWave, #CloudRap appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.