Heems begins his latest track, “Killing Time”, with a declaration of boredom. That seems funny, considering the Das Racist emcee has been keeping busy enough this year to make most rappers jealous. While at work on the next Das Racist album, Heems will release another solo mixtape, Wild Water Kingdom, this fall. Following closely on January’s fantastic Nehru Jackets, Wild Water Kingdom features Diplo, Harry Fraud, and fellow Wesleyan alumnus Le1f, among other guests. Produced by BLKHRTS‘ Yorrissey, “Killing Time” references everything from Goodfellas to fitness instructor John Basedow over a looped Echo & the Bunnymen sample.
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“Hot Cheetos and Takis” might be the best song you’ll hear all summer that wasn’t produced by Frank Ocean. With the aid of North Community Beats and Rhymes Program (during an after school program in Minneapolis, Minnesota), the kids of Y.N.RichKids have really got something fun here.
I don’t want to spoil anything, so check out the video below. And then you can read the more in-depth article over at Grantland. My original source for info about this young rap group. Though if you follow Hannibal Buress or Aziz Ansari on Twitter, you might have got wind of this a couple days ago.
StePhest Colbchella ‘012 - Grizzly Bear - “Yet Again”
StePhest Colbchella ‘012 - Grizzly Bear - “Sleeping Ute”
StePhest Colbchella ‘012 - Grizzly Bear - “Two Weeks”
From the opening guitar strum, the laid back simplicity of the tune is a trademark by this L.A.-based duo of Aaron Espinoza and Ariana Murray. Since their 2008 album Hymn and Her, the pair has kept busy touring and composing tracks for various film/TV projects. They also collaborated with members of the band Grandaddy for the 2010 release of Admiral Radley’s I Heart California. Plus Espinoza has produced artists such as Ben Gibbard, Port O’Brien and the Henry Clay People.
System Preferences will be released on Earlimart’s own label, the Ship, digitally on September 18 and October 16 on CD and LP. The band has planned a few dates on the West Coast, see dates below.
Apprentices learn to prepare rice for two years at the Sushi Iwa restaurant in Tokyo. Then they move on to a next step: “If you cannot handle the knife,” says chef Yasuhara Iida, “You cannot cut fish three years start handling fish.” It’s only in the seventh year that someone is allowed to serve customers. As Sushi: The Global Catch opens with such description and illustration—numerous close-ups of perfectly prepared sushi, scenes at the Aritsugu Knife Shop and the Tsukiji fish market—you might guess it’s another film about the art of food, the hard work of a restaurant or the triumphs of a chef. It is not. Instead, Mark Hall’s documentary looks at the sushi industry, the evolution of its popularity and what might be termed its extreme profitability.