“They superimposed them together in the low-rider with green screen,” adds Cool. “They couldn’t bear to be in the same room together.” “I hate to break the news, but those guys had to shoot their parts for that music video separately,” says the song’s co-producer Dre, one half of Miami-based rap production duo Cool and Dre. Yet the classic music video for The Gameand 50 Cent’s “Hate It Or Love It,” which features the two rappers riding through each other’s respective hoods like blood brothers, was all an illusion. In 2005, New York and Compton briefly united for the kind of rap anthem that is so charming you could comfortably play it at a family BBQ without receiving any strange looks from the over-70s. The Tokyo musician rarely played outside of Japan with his former band Yura Yura Teikoku, so this stateside visit is an exclusive chance to hear his crisp guitar work and understated voice backdropped by his jazzy-but-not-cheesy backing band.For Behind The Beat, Thomas Hobbs spoke with Cool and Dre about producing The Game and 50 Cent’s “Hate It Or Love It,” the best rags-to-riches song since The Notorious B.I.G.’s “Juicy.” debut bringing his blissed-out jams to the desert. Japan’s hazy psychedelic musician Shintaro Sakamoto makes his U.S. For fans of Peaches, Die Antwoord, Bikini Kill. But their message is a constant clarion call for freedom of expression. Maybe they’ll be brought out in body bags, maybe they’ll be wearing flannel pajamas and gas masks. While their songs are funny, poppy and satirical, their stage show is wildly unpredictable. The dissident performance art troupe turned activist group has become even more incendiary every year. They’re a conglomeration of “posts” - post-punk, post-hardcore, post-rock - but with a sound all their own.įor fans of Steve Albini, early Pink Floyd, Fugazi. Slow-burning rock from this Polish quartet brings dynamic waves of guitars that shift from surging power chords to moments of quiet. As the first film made in the Turaeg dialects, it’s entitled “Akounak Tedalat Taha Tazoughai,” which translates as “Rain the Color of Blue with a Little Red In It.” Onstage Moctar’s blazing guitar work, pulsating rhythms and trance-like vocals can get any crowd churning to the Saharan blues.įor fans of Tinariwen, Bombino, Songhoy Blues, the Black Keys His 2015 DIY remake of Prince’s movie “Purple Rain,” centered on a rocker in Niger, riding in the desert on a purple motorcycle with his guitar in tow. Acts like Tinariwen and Bombino have gotten international attention, collaborating with rockers Dan Auerbach and TV on the Radio.īut it’s Nigerien guitarist Mdou Moctar, who takes the sound even further. The Turaeg nomads of the Sahara’s brand of hypnotic guitar-driven rock is the stuff of myths, recalling stories of the tent-dwelling desert folk jamming to Jimi Hendrix bootleg tapes in the 1970s and ’80s. Friday at the Sanctuary.įor fans of Rikki Ililonga, James Brown, the Animals, Amanaz, Ebo Taylor and Q&A with frontman Jagari Chanda at 3 p.m. Want to learn more before their show? Catch a documentary on W.I.T.C.H. At Desert Daze, the band’s first-ever world tour brings their soul-drenched music to a new generation. After a decades-long dormancy, the band was brought to a larger audience in the 2010s with a reissue of their original Zamrock records. W.I.T.C.H was one of the prominent bands of the era - some have called them the Beatles of Zambia - delivering fuzzy guitars and catchy lyrics in English. The music was dubbed Zamrock and for a brief time in the years after Zambia’s independence from Britain, it became a full-fledged scene that brought together influences from British and American rock with traces of kalindula, a kind of regional uptempo pop music. In the 1970s, a confluence of rhythmic rock with a slight psychedelic vibe started to blossom across the southeastern African country of Zambia. THE BLOCK STAGE, FRIDAY, OCT 11, 10:30 PM – 11:30 PM
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