El-P and The Bots Celebrate CONS Project: Brooklyn with Intimate Performance

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CONS Project: Brooklyn came to a close Friday night with performances by El-P and The Bots at Converse Rubber Tracks. The three-month creative workshop offered emerging artists the opportunity to learn from the best in the fields of audiovisual, production and recording.

Hailing from Los Angeles, the young punk-blues duo known as The Bots rocked the Williamsburg performance space for the better part of an hour. Their gritty, wise-beyond-its-years repertoire included a song about a girl from their school that used to cut her feet and put her blood in the cupcakes she sold on campus.

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Artlux Mag’s Top 10 Albums of 2013

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When not discussing Miley Cyrus, the hype machine suggested Kanye West and Arcade Fire were the primary gravitational forces of 2013. And while Yeezus and Reflektor were great records, the time and energy journalists devoted to Kanye rants and Arcade Fire dress codes could have been spent covering a wealth of genius material that flew under the radar. With that in mind, and with the acknowledgment that ranking art is a pointless (though oddly fun) endeavor, Artlux presents its top 10 albums of 2013.

10. Serengeti – Saal

King of character study and frequent Sufjan collaborator Serengeti put out a lot of music in 2013. His record under the guise of Chicago bratwurst enthusiast Kenny Dennis received the most attention, including praise from Thom Yorke, but it was the underhyped Saal alongside German producer Sicker Man that showed Geti at his most raw and revealing, singing of a recurring night terror involving his deceased girlfriend and showing up at an ex’s wedding wearing a fake nose.

9. Young Fathers – Tape Two

Artists who make music described as uncategorizable  are often doing something right. Scottish trio Young Fathers are hip hop at their core, but their experimental lo-fi odyssey routinely features elements of African music, soul, reggae and more. Their second EP on Anticon is equal parts beautiful and grimy, highlighted by the melodic might of “I Heard” and adventurous tumult of “Queen Is Dead”, which sounds like a synthy post-apocalyptic dance party set in the Grand Bazaar.

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