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by Imran Khan

29 Nov 2016


Backed by Books One, Maestro Gamin returns after a brief hiatus with a single from the upcoming Miracle Work Medicine EP. Decidedly more straightforward than his previous works, “Future Calling” mines a chunky, percussion-looped groove laced with the sample of a Middle Eastern buzok. Gamin’s designs are more socially-conscious on this latest effort, forgoing the surreal, cut-up lyricism that defined his earlier work. The tune never directly references the colour-line issues we are currently undergoing these days. Rather, there is the sly circling of racial matters that brings the rapper’s poetry into spiritual form. Gamin’s voice, quite like the soulfully smooth consistency of peanut butter, rips an edge rougher than usual here; his lyrics on this new material command rather than inform. In the past, the rapper has never cared much for dancefloor fodder. But on “Future Calling”, his urgency to connect language with movement demonstrates an uncommon parlance – one that has the power to transform the ghettoblaster into a talismanic device of medicinal properties.

by PopMatters Staff

28 Nov 2016


Photo: Laura Jane Coulson

The xx have just dropped the third video from their eagerly awaited new album I See You that releases January 13, 2017 via Young Turks. The new single is “On Hold” and the band says, “the video is directed by the brilliant Alasdair McLellan, whose work we all adore. It was filmed in Marfa, Texas, a very special place to us, where we wrote and recorded some of our new album. We have a lot of love and respect for the people of the USA, having played hundreds of shows across the country over the past years. We hope this video reflects just some of the warmth and acceptance we have encountered there.”

by Sachyn Mital

28 Nov 2016


The year after Jóhann Jóhannsson won a Golden Globe for his score for The Theory of Everything, the Icelandic composer continues to stay at the top of his game. In 2016, Jóhannsson has released two works, his third collaboration with director Denis Villeneuve for the score of Arrival and his first artist album in over seven years, Orphée.

by Jedd Beaudoin

18 Nov 2016


Detroit-based genre-hopper Klayton (Celldweller)’s synthwave project Scandroid offers up a new cut from the much-anticipated self-titled debut, a cover of the Tears For Fears classic “Shout”, which we are pleased to premiere now. While remaining faithful to the spirit of the original, Scandroid has added a smart, contemporary vibe to the tune with brilliant blasts of synths and a loving nod to the pop sounds of the ‘80s. Klayton has apparently between waiting to record “Shout” since hearing the original just over 30 years; what’s apparent in his version is that he knows each change and lyric well and tempers his reverence with a healthy dose of originality.

by PopMatters Staff

17 Nov 2016


Paul Carr: This is as spellbindingly beautiful as music gets. The deep tones of Cale may have been supplanted in the memory by Buckley’s higher pitched and sensational reading of Cohen’s classic but this is no less soul-stirring. It doesn’t matter that Cale’s cover came first. There is more than one way to cover a song and both Buckley’s and Cale’s are remarkable in their own way. Cale’s slightly more world-weary take adds even more emotional heft to the song. At times it’s almost too difficult to listen to, draped in the dark cowl of the imagery and the attachment that the listener already has for the song. [10/10]

//Mixed media
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Emerging from My Hiatus from Big Budget Games

// Moving Pixels

"I'd gotten burned out on scope and maybe on spectacle in video games, but I think it's time to return to bigger worlds to conquer.

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