While Die Antwoord fans waited for the group’s September full-length release Mount Ninji and Da Nice Time Kid, the duo decided to tease audiences with the Suck on This mixtape. Released exclusively on DatPiff, the album has all of the hallmarks of Die Antwoord’s music: vulgar content, intense club beats, and the strikingly odd vocals of Yolandi Visser and Watkin Tudor Jones (known by his stage name “Ninja”).

The mixtape brings Die Antwoord an opportunity to include skits and dialogue in the new remixes of previously released songs, slightly revised. Some of the talking interludes include a dismissal of Americans who mispronounce the group’s name, a definition of the word “Zef” (something I’m sure most people wonder about), and skits between Yolandi and Ninja, very common for this performance-based group.

In this release, Die Antwoord took advantage of the interesting opportunity to borrow from their own music. Since it includes old favorite tracks remixed and new tracks with familiar instrumental lines, it really is like a super hyped-up pregame to Mount Ninji and Da Nice Time Kid, released just a few months later. For example, Suck on This includes a trap remix of “I Fink You Freaky” that has a much stronger dance beat than the original version, but still appeals to fans of the original. Suck on This also includes samples from songs that wouldn’t be released until the Mount Ninji album.

Crudeness is so much a staple of Die Antwoord’s music that nothing is uniquely shocking about this release. Sure, there are gratuitous descriptions of anal sex, allusions to the devil, and just generally creepy production qualities reminiscent of contemporary horror. The remixes on the albums are definitely creepier than the original versions, since Suck on This has a decidedly darker tone to it. The constant threats of murder and descriptions of graphic sex may make it difficult for Die Antwoord to outdo their own work at this point.

The post Let’s talk about Die Antwoord’s “Suck on This” appeared first on Quip Magazine.

Despite being marred with sound issues and utilizing the “house DJ” due to their DJ not being present, the duo, who are arguably two of the best MCs to ever touch the mic, took the crowd full of diehards through snippets of the Wu’s greatest hits, as well as tracks from Raekwon’s Only Built 4 Cuban Linx album. It was a 45-minute sampler of the icons that Ghostface and Raekwon have become. Having been in the industry for over two decades, the Wu-Tang Clan, both as a collective whole and as individuals, have gone from Staten Island MCs to its own iconic sub-genre of hip-hop culture.

At the climax of the crowd’s restlessness, The Chef and Tony Starks made their way to the stage professing their appreciation for Chicago, a city they say they’ve have grown extremely fond of during their career. Thanking Chicagoans for their endless support, the duo spent their set paying homage to the group that started it all: the Wu-Tang Clan. Fans rapped along to the likes of “C.R.E.A.M”, “Incarcerated Scarfaces”, “Can It All Be So Simple”, and “Ice Cream”, to name a few.

Chaos ensued when the two decided to invite fans from the audience to share the stage with them and perform ODB and Method Man’s verses on “Protect Ya Neck”. Despite the mayhem, the two fans handpicked by Ghostface and Raekwon flawlessly executed both verses. Closing out the show, seemingly abrupt, was “Triumph” – the standout track from Wu-Tang Forever.

When all was said and done, show attendees seemed to have performed more than the artists they paid to see. Blame it on the technical difficulties, or perhaps it was something else, but for the first time, Ghostface and Raekwon’s show left much to be desired.

The post Ghostface and Raekwon Bring Da Ruckus, but not the readiness appeared first on Quip Magazine.

Dan Boeckner’s new band was booked blind for 2014’s Pickathon Festival based on his tenure with Wolf Parade. Operators played a wild, sweaty set in one of the dark barns on the periphery of the grounds. Their synthesized rhythms were no kind of fit for the fest’s folky Americana roots, but the capacity crowd, packed in and throbbing to the unfamiliar muscular beats, did not care.

As introductions go, this was astonishing: Even in this larval form, the band—Boeckner on guitar/vox, Devojka on synth—had a very clear sound articulated in catchy, dancefloor-ready songs. Operators have been honing their sound on the road for the two years since, which makes the unusual polish of their debut album Blue Wave understandable.

If this dropped out of the blue, it would be mistaken for a second or third record. It’s the product of a tight and experienced band, comfortable with their dynamic and confident in their sound.

On first listen, the album sounds in many places like an old friend. There’s a time capsule quality to the music: It’s dark and quirky yet driven, waves of synth humming and trilling a 1982 vibe without the sourness of nostalgia. Sonically, it could have been borne of the same England as Joy Division or Teardrop Explodes. The album’s excellent first single “Cold Light” hits all the right notes for fans of classic new wave like Modern English. All of which is quite purposefully high praise by comparison: Boeckner and company have pulled off a neat trick here.

Some forget that new wave bands were exactly that: bands. Synths may have predominated the overall sound, but many of the most memorable groups of that era had guitar, bass, and drums like the rock and punk bands that preceded them. Despite Boeckner’s considerable cred as a guitarist, the guitar hook opening of “Rome” and the crunchy solo of “Nobody” are outliers on the album.

It’s not a synth record or a guitar record, but a collection of songs in which the combination of instruments yields a whole greater than the parts. No word who’s on bass—Boeckner again, perhaps?—but whoever it is deserves credit for the tight, propulsive “Shape of Things” along with third Operator (and former Divine Fits drummer) Sam Brown. The whole project is heavy on grooves and sounds like the best club you never visited in early ‘80s Birmingham. Operators find the right balance among instruments that makes the enterprise work.

Blue Wave is one of those rare records that millennials will be able to gleefully share with their Gen X parents. It’s undoubtedly new and wholly contemporary, but will trigger a flood of appreciation for the bands that used to populate 120 Minutes on the golden age of MTV.

The post The Operators’ “Blue Wave” is a little bit epic appeared first on Quip Magazine.

Beatboxing may not be a popular culture phenomenon but it is definitely one that is very much alive and well and is a big part of the local hip hop culture. What people tend to forget is that beatboxing is a lot of work, variety which these competitors delivered is mind blowing, causing the audience at times to completely forget that the sound – all of the sound – is made, simply put, by two mouths.

The headliner, Babeli, and special guests’ performances were a showcase of skill and experience. Word of Mouf took the stage before round two for a lengthy and an intensely impressive performance during which they did not even break a sweat. USA West Coast champion and a current judge Mr. Wobbles, on the other hand, turned it up a notch before the finals laying his vocal beats over turntable sounds.

The main battle kicked of with YB & Roshe who immediately caught the room’s attention. But, as soon as Chris Celiz & Gene took the mic it was obvious who was going to win this battle. From there on things begun escalating: K-POM (Kenny Urban and Napom) brought in lyrics into their performance through a shockingly impressive appropriation of Timberlake’s “Cry me a River”. Regardless of their hard hitting beats and vocal variety,  Chris Fernandez and Andre Gibson did not stand a chance this round.

Up next were Full Throttle (Beatspawn and Enkaye) vs Outbreak 2.0 (Heat and Jaeger). Outbreak 2.0’s Ryan Buckspan later received the Tangerine’s MVP award. Heat and Jaeger definitely took the room by surprise as much as their competitors who, to level up the game, begun crowding the space of the performing beatboxers – it is, afterall, a batle. Lungz & Tungz represented Montreal playing against Fresh Boys (BBK and C Fresh), both teams delivered fast paced routines pulling in beats from drum and bass to jungle.

The highlight of second round was an impromptu totem pole by Fresh Boys, a first one for UNITY all around. Fresh Boys moved on to battle Outbreak 2.0 for the third place leading into the finals: Chris Celiz & Gene vs 2014 winners K-POM who, once again, slayed the stage winning two tickets to the American Beatbox Championships.

See full image gallery here. 

The post UNITY Festival: Beatbox Championships at the MOD Club appeared first on Quip Magazine.

Arriving to a patiently waiting audience who kept their composure throughout the set, BRAIDS wasted no time in launching right into their third album, Deep in the Iris. Front woman Raphaelle Standell-Preston exercised her vocals in a haunting, melancholic delivery that was impressive in both range and volume. Mixing staccato percussions with swift melodies, the group’s looping, synthetic beats were strong, though at times overpowering Standell-Preston’s gentle lyrics. Standing-out with hits that included “Taste” and “Miniskirt”, BRAIDS delivered an introspective show juxtaposed against the clamour of The Horseshoe’s front bar crowd.

The post BRAIDS live at The Horseshoe Tavern appeared first on Quip Magazine.

NXNE Thursday began with House of Vans at Vice Island. As we journeyed to the island on a ferry under the bright sun, patiently hoping to get there soon, any minute now really, we slowly observed the crowd. Now some of you might say that we are being harsh but quite frankly Vice Island 2014 is where fashion went to die: overalls, mullets, over-sized pleated pants and undersized lace crop-tops occasionally accented by an underbutt, were a testament to how it is no longer cool to be cool. Everything vintage sold in Toronto was purchased by this crowd.

The small stage, greasy food-truck snacks, shitty poutine, and picnic blankets created a very homey feel. The attendees occasionally got up to dance and jump to Omar Souleyman, Mean Jeans, The Posterz or Future Islands. Herring I fucking love your singing face! But more on that later.

The big city had an equally exciting lineup pouring through the streets. Diamond Bones took the stage for an early show at the Silver Dollar. Early shows can be a tough sell at festivals, but this Montreal trio weren’t fazed by the crowd’s slow build at their grungy setup. The band brought an energized, upbeat performance that mixed heavy beats with an emphasis on their front woman’s lush, sweeping vocals that were at times reminiscent of Robyn.

Next stop, tUnE-yArDs. The brilliance of tUnE-yArDs front woman Merrill Garbus shone bright under the lights of Massey Hall. With a neon-infused set and accompanying group apparel that would make Tim Burton drool, each member offered synchronized choreography to accompany the tribal beats that, as Garbus explained, were inspired by lessons in Haitian music and dance. Engaged in whimsical and humble banter, tUnE-yArDs not only consumed ears, but eyes, souls and rhythm.

Catching the second wind, we made our way over to the Handlebar just in time for BC’s Fine Times. Handlebar’s tiny corner stage could barely hold the band’s equipment let alone accommodate vocalist’s Matthew Moldowan’s energy. It cannot be contained! Fine Times’ upbeat tunes quickly filled the room, people began to move forward from the patio to the back, and a couple of energetic dancers brought all of their moves out with no shame. And so it should be. Though some of the Fine Times’ songs have fairly sad undertones, their occasionally heart-melting lyrics are packaged with beats made to be true indie dance tracks.

Wiped out by all of the running in and out of random venues and away from occasionally surprisingly terrible sound, the evening found its pleasant conclusion back at the Handlebar during a 2am A Sol Mechanic performance.

As David Blazer set up his one man project in the slowly emptying out room, quietly singing over tracks for sound check, the calmness begun sweeping the bar. Blazer’s music is clean, precise and to the definition chill is filled with glitchy, patchy lyrics carefully matched over beats. Sometimes you hear someone play and know that someone has found a uniquely precious sound. A Sol Mechanic seems to have found it; this kid is one to watch and he’s welcome to back to Toronto any time.

See more photos from NXNE here

The post NXNE Thursday: Learning something new from the grasslands to the mainlands appeared first on Quip Magazine.

The first event of the day is on Emerson place. Upon entering you see food trucks lining one sidewalk, Kimchi tacos the popular item, a blending of Korean and Mexican food that fits well with the attitude of the festival. On the other side of the street you see a group of Hispanics selling freshly grilled corn still in the husks.

The bands are set up in two locations: one is performing on the street, the other in a backyard, reducing the set up time to almost nothing. Pow wow! Is the first band I see. They’re an eclectic group that blends 50s rock with Pacific Northwest grunge. Their vocals are soft under the heavy guitar and floating keyboards. This is their third performance of the day and they are off to one other after finishing up. During the performance and blowing through songs that should be danced to—there is some shuffling, there is some dancing when newcomers and friend approach but only to show appreciation for the music—one of their amps gives up and they fiddle with it trying to bring sound back to the rhythm guitar. The drummer makes small talk, noticing what the audience notices. At Hillstock the performances are intimate and the distance between performer and musician is marginal.

Later in the day, the performances head to an after-party at The Bishop, a pop up art space. A unique thing happens during the first set, a band called Slothrust brings their heavier-than-thou punk and Zola Jesus operatic vocals to the space. At first they are illuminated by lights that run along the ground, but as the set begins they quickly wink off and are told by a technician: “you’ll just have to play without lights or vocals.” They trudge along producing their sonic sludge. The lights were eventually regained. The tension in the crowd grows. New Yorkers are generally not a mobile audience, they appreciate the music in their own ways and don’t succumb to mob mentality. (A week earlier in Thompkins Square Park, a place notorious for being a hotbed of punk activity, I stumbled upon an outdoor concert with high mohawked people wearing piercings standing around. The bands were playing full volume, but they stood. No skanking was had that day.) As the songs grew louder and more discordant, the crowd finally erupted and began moshing, those who were laid back gravitated to the left, the moshers pushed and shoved at the right. And New York City produced the most polite mosh pit I’ve ever seen.

Then came the SPECIAL EVENTS, an enigma. The two hype men started their music on their laptop and began walking through the crowd warming up: “How many raps do you think I’ve done? Just go ahead and say a number… that’s way too low.” They asked the crowd to unlock their butts, pulling people in closer and closer. The SPECIAL EVENTS were certainly the most interesting music event of the festival, although their beats were prerecorded and quite possibly not their own. They have elements of Das Racist without the later development of racial conscious. What instead they seem to rely on is appropriating the “bro” culture and putting a spin on it. Their samples include Taylor Swift, Miley Cyrus, and Brittney Spears, the first two pop vixen’s songs are spun at an increased tempo and higher tone. The groups antics include bringing a ladder into the dance circle they’d created and shouting “We are America; we do it big.” Humor in hip hop has steadily increased the past few years (Lonely Island, Turquoise Jeep, Childish Gambino) and SPECIAL EVENTS make their own humor without sacrificing the drive to have a party. I’m suspicious of this band, suspicious that what I find as humorous and fun is really just an attention-grabbing stunt, but SPECIAL EVENTS for now get credit for re-appropriating pop music and finding small jabs they can get in, all in good fun.

Cover image courtesy of Hillstock Festival

The post Hillstock Music Festival is in your backyard appeared first on Quip Magazine.