Project Pablo announces new album, Come To Canada You Will Like It

It’s the Vancouver producer’s first since 2015’s I Want To Believe.

Vancouver producer Project Pablo has announced his second album. Titled Come To Canada You Will Like It, it’s the first to be released on Verdicchio Music Publishing, a new label run by the producer along with Jump Source, 2 Responsible, Rest Corp and 8prn.

“Come To Canada You Will Like It is a record about slowing down while finding a balance between rural and city living,” the label says. “Inspired by subjective memories and ideas about things and places: Looking back and moving forward.”

The album is the Vancouver producer’s first since 2015’s I Want To Believe, released on 1080p. Since then he’s released EPs on a number of labels, including Royal Oak, Magicwire and Ninja Tune’s Technicolour imprint.

According to the label, 10% of Bandcamp sales will be donated to Kwi Awt Stelmexw, a not-for-profit arts and education organization for the Squamish people of Western Canada.

Listen to album track ‘Fine Match’ below.

Pusha T Drops 'Daytona' In Full: Listen

Pusha T went into full perfectionist mode with his third album, Daytona, which dropped overnight. 

In the days leading up to its release, the veteran rapper dumped his intended album title, King Push, and switched out its artwork.

Pusha made the late name-change because it “felt it didn’t represent the overall message of this body of work" and talked of how this project was strictly for his "family."

Kanye West (who reportedly influenced the new art) and Rick Ross guest on the new album, the followup to 2016's King Push – Darkest Before Dawn: The Prelude, which peaked at No. 20 on the Billboard 200.

Daytona clocks in at seven tracks and just 21 minutes. It's a fast ride. Buckle in.

Pusha T’s Manager Confirms a New Album Is Coming This Friday

It was about a month ago when Kanye West tweeted the release date of Pusha T’s highly anticipated third studio album. Needless to say, it was an exciting announcement; however, there was some mild skepticism surrounding the drop for two main reasons: 1) Fans have been waiting on the oft-delayed King Push project since 2014. And, 2) Kanye was making a habit of tweeting a bunch of questionable shit.

Well, just days before King Push’s reported release date, his longtime manager, Steven Victor, has reassured DJ Booth that the album will arrive this Friday. Victor is also the EVP and head of A&R at Def Jam Records, which is G.O.O.D. Music's parent label. The music exec teased the project over the weekend, sharing a screenshot of a text conversation in which he called King Push “flawless.”



Last week, Kanye posted a Twitter video that featured a white board that appeared to reveal the official tracklist for Pusha's forthcoming project. The clip showed eight song titles listed under “Push.” The names included “If You Know U Know,” “Come Back Baby,” “Hard Piano,” and “Santaria.”



Many suspect Pusha's forthcoming album is called King Push; however, the title of the project dropping on May 25 is still unknown.

Shock Radar Release Brand New “Innovations” LP

With 2018 in full swing, NYC-based Shock Radar recently released their latest full length studio album “Innovations” produced over a five year period, tracked and mixed in the most illustrious recording studios in the world!

Singer/Songwriter- Lee J Diamond worked on this material for an extended amount of time, as the band felt rushed in the past to release more content on a high-speed frequent schedule.  "Innovations" is a kaleidoscopic audio journey through many different styles of music from art-pop new wave singles to atmospheric soundtrack landscapes.  This was a labor of love for Diamond since the beginning.  Shock Radar is notorious for their chaotic live performances and metal-riff inspired rock songs.  Various musicians from different backgrounds were assembled to create something uniquely different from the previous releases.  Diamond not only composed the music, but played a variety of obscure instruments including vintage analog synths, banjo, sitar and Moog.

"I wanted to break out of the wall-to-wall guitar rock my band is known for and explore new ground.  I had been working on soundtrack and film scoring material while writing these songs and felt like a schizophrenic New York City rock opera of sorts was brewing.  If I threw away the typical guidelines most bands follow in making a record, I knew I could create something extraordinary.” says Diamond. He continues “Having years off to record in different studios with a large group of multi-talented musicians added to the unknown result of what this album would become. I worked with different lead singers for the first time on this one to come up with a whole new sound, reinventing myself as a composer. Within this psychotropic journey, there are still elements of the original band- feel good rockers, sing-along choruses, but mostly it is an experimental album, organized and compiled like a movie soundtrack."

The eccentric styling of Shock Radar’s 'Post-Rock' songs are fresh and unique. Born and raised in New York where he worked at several record stores until attending Boston's Berklee College of Music on scholarship, and further studying art and journalism at New School University, Lee J Diamond has climbed his way to the top, simply doing what he does best- mixing and playing all styles from around the world.

"Innovations" was mixed and produced at Mozart Street Studio in Greenpoint, Brooklyn by Ryan Howe.

Latino Pop/Electronica Superstars Monsieur Job Continue Their Rise with BASS PA$$I

Blending Latin Grooves with Pumping Electronica, The LP and Its Follow Up Remixes Album Are Bringing Familiar Blend of Urban Beats Mixed with New World Dance Grooves to New Heights with Lead Single & Video

“Chow Chow Eyyy Pow Pow” Feat. No Mercy

With their imminent debut on Billboard’s Hot 100 chart this week, South American based Latin/Electronica group Monsieur Job are taking worldwide radio charts by storm with the release of their Single and Video “Chow Chow Eyyy Pow Pow” Feat. No Mercy off their latest BASS PA$$I album and remixes release BASS PA$$I 2 which dropped just last week via Basswalk Latino and Musik and Film!

For their debut release, Monsieur Job’s fuse diverse talents by inviting artists such as; Marty of No Mercy, Kiño, Luis Carlos Toro, Alejandro Gomes Caceres, Sarah Sophia, Elemece, Thiago, Christian Gimenez, Vojke Djans, Diego Caceres, Oscar Moncada, Denis Dzigal, Cholo, Vick D, Mc Lions & Bingi, Kid Corrupt, Dave Floyd, Nacho Alvarez, Pablo Bendov and Aldo Cadiz therefore mixing a variation of many styles recreating genres like Reggaetón Electrónico, Dancehall, Reggae, Dub, Tropical House, Rock, Chill Out, Rap, Trap, Hip Hop, Worship, and Son Montuno involving Afro Cuban and African Succu rhythms.




“It makes some demands of the listener, but none they won’t be happy to oblige. The demands are centered on how artfully ‘Chow Chow eyyy Pow Pow’ upends expectations for pop music in this vein thanks to its strong musical pedigree and vocal presentation. The performance is unfailingly accessible, but there’s a real sophistication present in the song as well.The three and a half minute radio edit of this initial offering from the quartet is augmented by the presence of guest star Martin Cintron, lead singer for the band No Mercy, and the Bronx born vocalist is the added cherry on top of what will likely prove one of 2018’s more delectable musical confections” - No Depression

Monsieur job is an eclectic band formed by Toby Holguin from Cali, Colombia; Stan Kolev from Sofia, Bulgaria; Charlie Illera from Barranquilla, Colombia; and Leo Jaramillo from Bogota, Colombia.

All coming as live band performers, Toby, Stan, and Charlie also regularly spin records as DJs for different pools and venues around the world. Monsieur Job was born out of Toby’s idea to start doing Urban Music along with Chill Out and Electronic Music, which they were making for the album “Bass Passi.” They all agreed and started dropping broken beats with a more festive, shaky, groovy Caribbean Latin flavor resulting in Monsieur Job, an international exclusive mash up of world talents.

The album “BASS PA$$I” album was recorded in Bogota and Miami at Basswalk Studios, Outta Limits Studios in Miami, and Barba Studios in Belgrade and mastered at Sterling Studios, New York.

The Beatles' Esher Demos: The Lost Basement Tapes That Became the White Album

Rob Sheffield's book Dreaming the Beatles: The Love Story of One Band and the Whole World is a celebration of the band, from the longtime Rolling Stone columnist. It tells the weird saga of how four lads from Liverpool became the world's biggest pop group, then broke up – yet somehow just kept getting bigger. Dreaming the Beatles, out in paperback on June 19th, follows the ballad of John, Paul, George and Ringo, from their Sixties peaks to their afterlife as a cultural obsession. In this section, Sheffield explores one of the Beatles' unheard treasures – the May 1968 Esher demos they recorded at George Harrison's pad, preparing for the White Album, not suspecting their friendship was about to turn upside down.

The end of May, 1968: the Beatles meet up at Kinfauns, George Harrison's bungalow in Esher. Just back from India, gearing up to go hit Abbey Road and start their next album, the lads bang out some rough acoustic tunes into George's newfangled Ampex reel-to-reel tape deck. The result is one of their weirdest and loveliest unreleased recordings: the Esher demos. There's nothing else in their music quite like this. Most of the 27 songs ended up on the White Album, yet there's none of that record's tension and dread. At Esher, they're having fun; they don't realize all the tortures they'll inflict on each other making the White Album. Instead, it's a moment of jovial, intimate warmth – for almost the last time, you can hear they're still in love with being Beatles together.

In an excerpt from his new book 'Dreaming the Beatles,' the author looks back at the ups and downs of the former Fab Four adrift in the Seventies

Fifty years later, the Esher demos remain one of the Beatles' strangest artifacts. When the boys gathered at George's pad in the last days of May – nobody's sure of the exact date – they had excellent reason to feel cocky about their new material. They wrote these songs on retreat with the Maharishi in Rishikesh, India, a place where they had no electric instruments. They also had no drug connections, which might help explain why they came up with their sturdiest tunes in years. As John Lennon said years later, "We sat in the mountains eating lousy vegetarian food and writing all these songs. We wrote tons of songs in India." John, the most distractible Beatle, had the hot streak of his life during his three months in Rishikesh, which is why the White Album is their most John-intensive record. (The previous album with the mostest and bestest John songs was A Hard Day's Night, four years earlier.)

When the Beatles regrouped in England, they decided to get together and tape home demos on their own turf before stepping into Abbey Road – an innovation they'd never tried before and would never revisit. So they met at George's hippie bungalow in the Surrey countryside, decorated in the grooviest Indian style. John showed up with 15 tunes, more than Paul (7) or George (5). On the tape, you can hear them relax in an informal setting – they sit around the living room, banging guitars or tambourines or shakers, breathing in the joss stick. They recline on leather cushions – George and Patti don't have anything so square as chairs.

The Esher demos are a real treasure trove; they mined it for years. Songs that got worried to death on the album are played with a fresh one-take campfire feel, just acoustic guitars and handclaps. A couple of half-finished sketches got saved for Abbey Road ("Polythene Pam," "Mean Mr. Mustard"), others for their solo records (Paul's "Junk," George's "Not Guilty" and "Circles," John's "Child of Nature," which he later rewrote as "Jealous Guy"). They whoop through each another's songs – even "Honey Pie" rocks. They sound excited to hit the studio and knock something out in a few days, like they used to, back when they had to. Nobody knows the sessions will be an endless nightmare straining to duplicate the loose feel of the demos. "Ob-Li-Di, Ob-La-Da" will go through 47 takes. "Not Guilty" will require 102 takes and not even make the album.

On the tape, they sometimes speak to Mal Evans and Derek Taylor, presumably there to make tea or roll the smokes. Ringo's a quiet presence, though you can hear him bray away on "Bungalow Bill." Yet the vibe is friendly – it's like the White Album minus the hostility, which might mean it's nothing like the White Album. Some songs are still works in progress – in "Yer Blues," John is "insecure" rather than "suicidal," while George's "Piggies" eat pork chops instead of bacon. George sings the excellent "Sour Milk Sea," which he turned into a 1968 hit for his Liverpool mate Jackie Lomax, featuring Paul on bass and Ringo on drums. The lads keep trying to crack each other up, like when John does his mock doo-wop monologue in "I'm So Tired": "When I hold you in your arms, when you show each one of your charms, I wonder should I get up and go to the funny farm? No, no, no!"

At the end of "Dear Prudence," John tells the story of Prudence Farrow, though the madness he's singing about is really his own. "Rishikesh, India," he says over the final guitar lick, as the others chuckle. "No one was to know that sooner or later, she was to go completely berserk under the care of Maharishi Mahesh Yogi. All the people around were very worried about the girl, because she was going insane." He takes a deep breath. "So we sang to her."

It was a berserk time for the Beatles – all their lives changed within a few days. In the middle of May, John and Paul flew to New York to announce their new Apple Corps venture. They made a disastrous May 14 visit to The Tonight Show with Hollywood diva Tallulah Bankhead, who was no fan of "I Am the Walrus." It was a major get for NBC – the first time John or Paul gave an interview on any U.S. talk show. Unfortunately, Johnny Carson was on vacation. Instead, they had to make small talk with guest host Joe Garagiola, the Cardinals catcher turned sportscaster, who knew nothing about them and blew the TV opportunity of the year. (Garagiola: "What are you gonna do when the bubble bursts?" Lennon: "I haven't a clue, you know. I'm still looking for the bubble.") The 66-year-old Bankhead did her best to spice up the banter in her famous chain-smoking rasp: "I was eight years in England and never saw a cricket game, didn't understand one word of it. So how do you expect them to understand baseball?" Their comments about the Maharishi were wasted on Garagiola – the only Yogi he ever believed in went 10 for 24 in the '55 World Series.

But the really massive change happened within hours of John's return to England. He recorded Two Virgins with Yoko Ono in an all-night session where they wound up in bed for the first time, surprising poor Cynthia Lennon at breakfast and ending the marriage instantly. On May 30, the first day of the White Album sessions, the other three were stunned to see Yoko in the Abbey Road control room at John's side, where she remained permanently – even joining him on the microphone in the first day's version of "Revolution 1." From now on, they only had access to John through her. Paul, of all people, was the only one she felt gave her a proper welcome. "Paul has been very nice to me," she mused in her June 4 tape diary. "He's treating me with respect. I feel like he's my younger brother or something like that. I'm sure that if he had been a woman or something, he would have been a great friend, because there's something definitely very strong between John and Paul."

The Beatles spent five agonizing months making the White Album, often splitting up to work in separate studios. The fighting got so ugly Ringo quit for a week. In many ways, the Esher demos are the last recorded moment of the Beatles as a band. For the Get Back/Let It Besessions, they tried to re-create this basement-tapes spirit, but instead documented their sad demise. Seven of the Esher songs appeared on Anthology 3 – "Happiness Is a Warm Gun," "Glass Onion," "Junk," "Honey Pie," "Piggies," "Mean Mr. Mustard" and "Polythene Pam." The rest remain unreleased.

One of the most poignant moments is John's "Child of Nature," about India. ("On the road to Rishikesh / I was dreaming more or less.") Three years later, he recycled the melody for "Jealous Guy" – a love song to Yoko. But here John sings "I'm just a child of nature," in the same spirit as Paul singing "Mother Nature's Son." For these two city boys, nature was just a fantasy they shared, a family they could join to be brothers again. "Child of Nature" and "Mother Nature's Son" have virtually nothing do with nature – but much to do with each other, and the dream that everything they've broken can be healed. On the Esher demos, that bond of friendship is still holding the Beatles together. They would never sound as close again.

My Bloody Valentine Announce American Shows

Shoegaze legends My Bloody Valentine have announced a series of American shows, set to take place this summer. The concerts will be the band's first live performances in five years.

The band is also scheduled to perform at a small handful of festivals, including Sonicmania in Tokyo, Robert Smith's Meltdown in London and the Roskilde Festival in Denmark. In addition, they will appear at the FYF Fest in Los Angeles on July 22.

Last year, My Bloody Valentine released all-analog, vinyl remasters of their first two LP's 1988's Isn't Anything and 1991's Loveless. The band also is reportedly working on new material, some of which—guitarist Kevin Shields told NPR in a recent interview—the band will perform live at these concerts.

My Bloody Valentine U.S. 2018 Tour Dates

July 17 - Seattle, WA @ Paramount
July 19 - Oakland, CA @ Fox Theater
July 22 - Los Angeles, CA @ FYF Fest
July 25 - St. Paul, MN @ Palace Theatre
July 27 - Chicago, IL @ Riviera Theatre
July 30 - Philadelphia, PA @ The Fillmore
August 1 - New York, NY @ Hammerstein Ballroom

Wye Oak's Jenn Wasner Is Hitting Her Creative Peak

Jenn Wasner could probably take some time off from making music, but she's not really wired that way. Not when she's in the midst of releasing some of the best music of her career.

With the release of Wye Oak’s excellent new album, The Louder I Call, The Faster It Runs, Wasner has established herself as one of the more consistent and reliable names in the indie music scene and only seems to be getting better. Be it working with drummer Andy Stack in their flagship band, collaborating with Jon Ehrens on the R&B pop project Dungeonesse, or performing solo under the moniker Flock of Dimes, Wasner is about as close to being a sure bet for a record company as an artist gets.

But that's not the reason she got into music, nor was it why she decided to create different projects for herself. The fact remains that a person would be hard-pressed to find many peers that can match what Wasner has done in the ten years she's been active in the music industry.

"My initial goal in having multiple personalities and multiple projects was to allow myself to create and release more music," says Wasner. "At least in the mainstream music industry, there are rules for how many records record labels and deals will allow you to release. I want to be filling my world with as much new stuff as possible, so the quickest way I found to be able to pull that off was to create as many alter egos as possible and release more records."

With eight LPs spread over three bands since 2008, Wasner's output is impressive, but the real accomplishment lies in the combination of quantity and quality of the work. Without ever venturing too far from her signature dream-pop sound yet still managing to avoid projects becoming indistinguishable from one another, Wasner has quietly put together a stellar decade of music.

Wasner is not a revolutionary for creating side projects that allow her to make different styles of music, or for turning a record-label deal into something more advantageous, but an artist maximizing output while successfully experimenting with sounds and styles is worth noting.

After recording and releasing her solo album in 2016, an experience she describes as "incredibly rewarding but difficult," Wasner embraced collaborating with Stack again with a new appreciation for having another person around throughout the record-making process. As a result, The Louder I Call, the Faster It Runs feels like the result of Wasner and Stack hitting their creative primes and reaching another level in their creative partnership.

"It’s certainly a maximalist sound, and that was a conscious decision that we made: to allow ourselves to make the most maximal record we wanted to," says Wasner. "We went into it saying, ‘No, we’re going to make the record we want to make; we’re not going to worry about limiting ourselves or worry about how we’re going to play it live or anything like that.'

"It also feels like a culmination of all the different things that we do in one place and all the different skills that we’ve learned through making records over the past ten years," she adds.

Wasner seems to have figured out a few things when it comes to trusting her creative vision — including the removal of outside chatter about her music — and it is no coincidence that the results are a dynamic Wye Oak record that is the band's best to date.

"Now, the catch with blocking it all out is the fact that it still applies when things that people are saying are good," she says with a laugh. "If you make the rule to trust yourself and not trust other people when they don’t necessarily get what you’re doing, you have to keep the same rule when people are loving it. Starting to believe what people are saying about you is the quickest way to start sucking, so I’m trying to remember that."

Still, even if she is trying to ignore what people are saying, it is clear that Wasner is excited about her new album and the fact that people are enjoying it. And why wouldn't she be thrilled? This is what commercial success looks like for an artist still intent on making music that she personally enjoys.

"If I love what I’m making and I think it’s my best work, then that’s the whole point. If other people like it, great, but if they don’t like it, then I still have that feeling of satisfaction. I think it’s really more of learning to protect my heart and to protect the part of myself that is wanting to make things."