Vinyl Notes

So some of you may have already heard about the latest beef in hip hop. Ice T recently took a shot at Soulja Boy while making a mixed tape, accusing the the youngster of single-handedly killing hip hop. Be that as it may, Soulja Boy responded with his own video; check it out:

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Tonight you can catch the 2008 BET Awards from the Shrine Auditorium, airing live at 8PM ET on BET. While the BET (NYSE:VIA) is calling this awards show “the hottest ticket on television” there has been virtually no buzz until today. This begs the question, has this event been marketed effectively? Or am I just that detached from BET?   

Truth be told, I haven’t tuned in to anything BET related in years, so the answer could be the latter. However, I do make efforts to keep my finger on the pulse of music news (so I can deliver the important bits to you dear readers) and the BET Awards just sort of snuck up on me. Oh well…

The show does sound promising with performances by Rihanna, Marvin Sapp, Kanye West, and Alicia Keys, a lifetime achievement award for Al Green, the Humanitarian Award for Quincy Jones and a litany of stars to present the awards.

Music award categories and nominees after the jump…

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Last week VinylNotes reviewed the “No Child Left Behind” EP from Nico Vega. Last night we had a chance to see the trio from the MySpace Records burn the Viper Room down with a fired up performance.

The air was heavy, damp and electric. A voice from behind the curtain said “One minute to showtime,” and I looked around, glad I’d chosen to sit on the edge of the stage. As curtain opened, Aja took the stage, barefoot and clad in leggings and a leotard, the audience screamed in excitement. Starting the show on a relatively mellow note; Aja sat on a stool, center stage, with the mic in her face. It wasn’t long before Aja to hopped off the stool and used it as a percussion device before discarding it on the side of the stage as she stomped and strutted ’round, and growled into the microphone.

By the time the trio launched into “Medicine Man” - only the second song in the set - everyone, both the crowd and the band, knew this show was going to be full tilt. Aja, Rich and Dan - vocalist, guitarist and drummer respectively - could not hide their joy as the audience sang along to every word, rocking and swaying, hands in the air. As Aja stomped her foot to the sound of the kick drum and sang, “I don’t need no medicine man to chop my wood…” she grinned big - almost as if in shock - as the crowd pumped their fists and raised their voices in the air. “Gravity” and “Be Giving” sent the Viper Room into a frenzy with the audience jumping and banging their heads as Aja, Rich and Dan played for each other as much as for the concert goers.

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The Last Shadow Puppets is a side project of Arctic Monkeys lead vocalist, Alex Turner and Miles Kane, lead vocalist for The Rascals borne of a friendship mented during the Arctic Monkey’s 2005 UK tour. The duo’s debut album, The Age of the Understatement, is a futuristic throw back to 60s pop, with an epic sound fit for a James Bond movie.

Each song is a swelling, cinematic ballad. Combined with the perfect balance of sexy, dark, and brooding, The Age of the Understatement has an added level of maturity to its pop sensibility. Turner’s voice is edgy with a slight dissonance, while Kane’s has a smooth crooning timbre, together they meld their voices, shifting between subtle discord and soft harmonies.

The first single, “The Age of the Understatement” is representative of the underlying angst that also characterizes the album. With a full and galloping sound, the song marches on about a woman who seems much like Carmen Jones or Helen of Troy. She is seductive, cunning and dangerous; enough so to start a war. The woman is likely a metaphor for anything that would lead you astray with deception.

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Many, many people had high expectations for Coldplay’s most recent release, hoping that it will be bigger and better than the last. While some make appropos comparisons to U2, I like to examine Coldplay at it own merit of melody, soundscape and rhythm (even though I haven’t heard the album yet, hehe). The reviews are lukewarm to raving and buzz abounds.

Speaking of which, over the last couple of weeks the buzz about Coldplay’s latest LP has reached a deafening level climaxing with the news that Coldplay was being accused of stealing the melody for “Viva La Vida” from New York band Creeky Boards. According to numerous reports, Creeky Boards front man, Andrew Hoepfner, claims that the melody originated from his song “The Songs I Didn’t Write” and he even asserts that Coldplay’s front man, Chris Martin, was at one of his shows in October. Hoepfner, cleverly, posted a video on YouTube for us to compare the songs for ourselves. What do you think?

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Apparently Radiohead are fans of Portishead. Check out this video of Thom Yorke and Jonny Greenwood playing “The Rip” - Portishead’s latest single from Third.

Find more videos like this on w.a.s.t.e. central

Hat tip: NME.com

The Pussycat Dolls are back with a new album, Doll Domination slated for release September 16, 2008. Although I tend to be a fan of deeper music, I like the Pussycat Dolls, their energy and pop aesthetic. The music is fun and the girls are oh so sexy. The new video debuts tonight at 8PM on MTV’s new show FNMTV but VinylNotes has it here for your viewing pleasure after the jump.

This is a fun, high energy dance track about the quest for fame and what it feels like once it happens. You can be sure this song is destined to tear up the pop charts and become a club banger. Check it out (you may have to push the player to the next song).

In an interesting twist on viral promotion, Ashanti’s publicity team cooked up a mock news video. Apparently, the music video for Ashanti’s latest single, “The Way That I Love You,” has sparked a series of copycat crimes; check it out:

“…investigators have named one Commercial Hip Hop as the prime suspect.

Detective Kimble also hinted that there may be a tie between the recent attacks and the music video for Universal/Motown recording artist Ashanti’s hit single, “The Way That I Love You.”

The video tells the story of a woman who exacts revenge on her cheating boyfriend. Police fear the video may spark a string of murders by jealous lovers. Gruesome images of blood smeared walls were taken at the scene of a love crime, apparently inspired by the video. Calls placed to the music label were unreturned.”

According to Rolling Stone, the video has sparked some controversy and protest in Los Angeles for it’s “glorification of violence.” Funnily enough, Ashanti’s latest release has received little or no buzz until now. Regardless of whether or not it is in poor taste and judgment, Ashanti’s publicists knew how to grab people’s attention.

I’ve been hooked on Nico Vega since I heard about them six months ago from a friend at Listen In. Instantly I fell in love with vocalist Aja’s throaty, growling voice, and the infectious, high energy rhythms. I bought their EP No Child Left Behind the very same day.

The opening track “Gravity” is an anti-depression anthem and ode to anyone who has had people use words to tear them down. The negative energy, is like gravity… “a parallel on words” that eventually hurts.

Over time you could kill me
But I’ll resurrect so
Na-na-na-na-na-na-na-na
You ain’t never gonna thrill me
But you can kiss my ass so
Na-na-na-na-na-na-na-na.”

You are can’t help joining Aja as she declares in a frustrated frenzy

Oh-oh-oh, you’re bringing me down!
Pick it up, pick it up pick it up, pick it…
Oh-oh-oh you’re bringing me down!

“Be Giving” is nothing short of rockin’. Three minutes and 36 seconds of a guitar and drum heavy, throw your hands in the air, bang your head rockin’ goodness. Almost cinematic in quality, the music swells and retreats with martial abandon.

I’m gonna drive off naked with the top down
Even if I don’t make it to the next town
I gonna sleep on the floor tonight ‘cause
I don’t need a damn dime to survive on

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Kissey Asplund recently crept onto my radar by way of the viral underground. Like many new artists coming out in the last couple of years, Asplund was able to use MySpace to network and find people to work with. It was through MySpace even, that she began connecting with various producers and beat makers, eventually establishing a formative bond with French producer Papa Jazz. The result of this union was her May 28th debut release, Plethora.

Described by Andy Kellman from AllMusic as a “Swedish space cadet…fading in and out of consciousness or singing in her sleep,” Asplund’s sound is futuristic and abstract, fusing jazz, hip hop and soul in ways both sensual and esoteric. As her voice flutters in a strange staccato over pulsating synth rhythms, Asplund fluidly straddles talking and singing; blurring the line between spoken word and vocal jazz.

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