wanted to hate White Privilege II, I wanted it write about it as another white person beating up other white people for not being black enough, which is h what a lot of white privilege is, making it problematic. Well, I actually liked it and from critical distance, give it merit. It also predicts a general direction in the current hip-hop underground of using found sound with a mix of old school and off kilter Odd Future-ish type beats, one ingredient left out on this Macklemore and Ryan Lewis exploration into what I think will be not only an attempt to outdo The Heist, in terms of production, but produce something worthy of the post-To Pimp a Butterfly Landscape.
My songwriting process has always been a bit elusive and mystical. Most, if not all of the songs on Tiny Wars were written in 45 minutes or less in one sitting. I call it the river muse, a sort of creative flood that is the most euphoric experience. In a way, I sort of step aside and let the song write itself-it feels a bit like co-writing with a higher, universal power. Usually each song I write is somehow simultaneously about many things at once...but there are definitely some themes in the record. Prisoner Town touches on a broken relationship and tension within my family and their struggle to accept me for all that I am. Others speak on a very painful loss of romantic relationship and the bitter sweet outcomes of that.
I am not sure of the actual stories behind the songs on Not to Dissappear and in doing research about band member's personal history via past interviews, I could not pin down the personal lives behind the protagonists driving the lyrics. I did find interviews obsessing over the eventual fame of the band but to the best of my knowledge, bands on 4AD have never been seekers of conventional notoriety, the modern celebrity.
It should first be said Not to Disappear is an important departure for a band who first came to us as another indie entity painting texturally, as it were, with the sonics of their instruments and ethereal-type lyrics, (Daughter has cringed at the word ethereal, probably because they generally want things to hit like a millstone). Of course, going back to bands like Dif Juz, The Cocteau Twins, Throwing Muses and collaborations such as This Mortal Coil, 4AD has been the homeland for these sort of artists, some of who are pushed unfairly under the goth festival tent or no longer considered, to the peril of historical pop accuracy. Over the past decade, the label founded by Ivo Watts-Russell — which will probably end up being more influential on pop music than will ever be chronicled — had remade itself around artists which lean towards their old tenants, The Pixies, in terms of accessibility based around typical pop song structure, without abandoning the original imagination of the imprint.
Chocolate covers does not refer to anything which has to do with black music or black members of bands, it's simply a name for covers which we consider delicious. Songs we pick as chocolate covers are songs which are declicously recorded by up-and-coming bands which put a new twist on the song.
The second volume of the Earyummy compilations gathering the best in new music arrives in March and every month after that on iTunes, Amazon, Spotify and through the new Earyummy Vinyl Club