Black Milk and Danny Brown have both been busy the last couple years: Black with his acclaimed 2010 solo record Album of the Year and this year’s Random Axe LP with Sean Price and Guilty Simpson; Brown with two remarkable full-lengths, last year’s The Hybrid and XXX which just dropped back in August. As each continue their own meteoric rise — Black Milk is fresh off his Jack White collab and Danny Brown just got signed to Fool’s Gold Records — it’s wholly satisfying that they decided to enter each other’s orbit for the Black and Brown EP.
Black Milk’s production is as stellar and cinematically soulful as ever, one part Stones Throwpsych-hop, one part neo-Dilla chipmunk soul-chops. He also spits a solid verse on the title track, but the rest of the vocal work is handled by hip-hop’s resident force of nature Danny Brown. And Danny Brown is… well, Danny Brown. Misogynist, but so painfully clever, foul-mouthed and offensive, manic, hilarious, and brutally detailed— on the mic the man is an absolute beast.
Black and Brown drops on November 1st. Stream the whole EP down below and then pre-order it from Fat Beats on CD or vinyl.
In 2009, The Big Pink released A Brief History of Love, an impressive and distinctly British debut LP that was informed heavily by shoegaze, as well as the best of the 90s UK indie and electronic scenes. By the sounds of their new single, the markedly catchy “Stay Gold”, the ingredients for their tunes remain largely the same. Not that it bothers me any— this delivers with at least as much gusto as anything off the first record, save perhaps the so-good-it’s-gonna-be-hard-to-top single “Dominos”.
Check out the original version of “Stay Gold” and the remix from Dipset’s resident King Midas araabMUZIK down below. Look for LP2, Future This, to drop in January 2012.
After finally going to see Drive last night, I feel very much compelled to write something about it. I’m sure I could speak at length on the merits of the work as a whole — which are numerous — but I’ll just stick to the excellent soundtrack.
Cliff Martinez’s score is a dark and tempered work of oscillating, ambient synth that helps set Drive‘s stark and austere tone. Though it radiates warmth in the brief, but beautiful and tender moments between the Driver, Irene and her son Benicio, the score spirals downward with the events of the film, morphing into a cold wave of pulsating electronics and slow drones. Masterfully complemented with songs from Kavinsky, Desire, College, and Chromatics that contribute brilliantly to the subtle 80s vibe of the film, the soundtrack is key in the crafting of a few of the best scenes in Drive. The opening title sequence comes to mind immediately: the stunning overhead shot of Los Angeles’ downtown skyline at night, the credits written in hot pink cursive, the cool, measured pacing, Gosling’s emotionless gaze (and scorpion jacket)— all set to Kavinsky’s slow-burning “Nightcall”. Perfect. Check out a couple more tracks after the jump.
Bravo to Nicolas Winding Refn and Cliff Martinez on their work. And be sure to see Drive in theaters.