Maybe we’ll just leave the weather out of this.

Of course, there’s also the leaves and all that jazz, but that’s even riskier topic. Despite how goddamn gorgeous New England starts to look around mid-October, you can’t go wandering around, pontificating about the glory of nature in iambic pentameter without expecting to be mistaken for a tourist. And you can’t expect to be mistaken for a seasonal tourist in New England without also expecting to get punched in the head.

With these options exhausted, I suppose we’re left with this autumn mix I made for you. Yes, you. I could tell when you walked in that door that you knew exactly how I felt about this time of year. Sure, an almost two hour mix might seem a bit much, but only if you’re starting at your computer screen while you listen. Go ahead and take it outside. Go for a walk or a drive. Summer is dead, long live autumn.

DOWNLOAD: The Road Less Travelled: An Autumn Mix

1. M. Ward – One Hundred Million Years
2. Nick Drake – Hazey Jane I
3. Kevin Drew – Tbtf
4. Andrew Bird – Anonanimal
5. Damien Rice – Unplayed Piano
6. Nick Drake – Pink Moon
7. Stars – My Favourite Book
8. Ray LaMontagne – Let It Be Me
9. Hip Hatchet – Small Hands
10. Jackson Browne – These Days (Live)
11. Andrew Bird – Tenuousness
12. múm – Marmalade Fires
13. The Dramatics – (I’m Going By) The Stars In Your Eyes
14. Bright Eyes – Tourist Trap
15. Ella Fitzgerald – September Song
16. Dark Dark Dark – Daydreaming
17. Hip Hatchet – Sun Can’t Walk
18. Pat Metheny Group – Last Train Home (Live)
19. Mr. Milk – Goodbye Prisoner
20. Bobby Darin – Moon River
21. Bibio – Ambivalence Avenue
22. Pat Metheny – Peace Memory
23. Bruce Cockburn – Isn’t That What Friends Are For?
24. Mark Knopfler – Going Home (Theme from Local Hero)
25. Jaco Pastorius – Portrait of Tracy
26. Justin Vernon – Redemption: 1 (An Army Man And His Self-Discovery)
27. The Tallest Man On Earth – The Blizzard’s Never Seen The Desert Sands
28. Yo La Tengo – Autumn Sweater
29. Ra Ra Riot – Foolish
30. Owen – The Sad Waltzes of Pietro Crespi
31. Jimmy Durante – I’ll Be Seeing You

T-Rock and Mr. Sche are still making characteristically Memphis rap music. The kind Three 6 Mafia and Hypnotize Minds were creating when T-Rock was working with them in the late 90’s (though he migrated from his home in Atlanta). The internet has a strange way of dividing hip-hop artists into two categories, those at the forefront of Google Reader attention and others remaining regional yet pressing and selling actual physical CD’s rather than trafficking in hulkshare links. Consequently, as young blog worthy artist’s garner all sorts of sensational posts in rap writers race to be first, a fair share of regional artists continue making good rap music with a consistent sound yet fly under the radar.

I’m no historical rap hanger on that idolizes the past and 90’s, but it’s the same sentiment as when Jadakiss told 50 Cent, “I did real songs with [Notorious] B.I.G., no made up shit”*. Occasionally I’m going to trust the guys who’ve helped facilitate the sound, to continue creating it in the most enjoyable manner. There’s something reassuring about regional artists who are still grinding it out in rap’s old model (don’t take this as me hating the age of information). Especially with T-Rock being one of the few Hypnotize Minds members who left the group but didn’t turn to smoking crack (see: Crunchy Black). This doesn’t carry over to a lot of specific regions (Detroit, California, etc…) where young bucks are altering previous styles and adding their own uniqueness to positive effect.

T-Rock and Mr. Sche just let go of this track, “Yeah I’m Smokin” from T-Rock’s Slang and Serve 2. I’m not sure at all why it’s on T-Rock’s album, considering Mr. Sche raps every verse and T-Rock only adds the refrain. Regardless, this track retains the organic crunchiness (no whole foods) and quasi lo-fi qualities (tape hiss, crackling sample) commonly seen as uniquely Memphian. It feels like it was just released from a well-preserved time capsule. It pains me to write as if everything or anything at all was better in the 90’s, but the sound on “Yeah I’m Smokin” is so genuine and feels more natural than other attempts at making Memphis rap music.

Yeah I’m Smokin’ – T-Rock & Mr. Sche

Speaking of Memphis, resident Don Trip released a joint tape with Starlito (from Nashville), which you knew/know about because it was 6,000 years ago Internet time and the pair are blog-life favorites. Both are artists who frequent Memphis and are excessively popular there, but don’t much heed to the predecessors of their regional style. I’ve always thought Starlito sounded similar to Houston’s Lil Flip (though not in the form of mimicry) and more respected rap writers may compare him to Young Bleed, who hails from Baton Rouge. I’m not even sure what kind of rapper Don Trip represents; he doesn’t confine himself to punch lines or narrative, and sounds like he could just as easily have come from Philly, New York, or Atlanta. Upcoming producer Lil’ Lody, also a Memphis resident who has worked with Three 6 Mafia, produced the track, which samples Atlantic Starr “Let’s Get Closer”. It’s nearly a total departure from his usual trap-rap soul sample-less style that Lex Luger and Waka Flocka claim he sharked from them.

Life – Starlito & Don Trip (Step Brothers, 2011)

One of my favorite rap / DJ Screw tracks of all time, “Nobody Does it Better” by Nate Dogg & Warren G from Screw’s Still Hustlin’ tape also makes use of the same Atlantic Starr sample. Anything that allows me to spread this song further justifies a post, perfect rainy day music. This sample and it’s sparkling key loop sounds nearly identical to the one used in T-Rock & Mr. Sche’s “Yeah I’m Smokin,” which is The Isley Brothers “A Ballad for a Fallen Soldier” but may be more commonly recognized by the hip-hop generation (myself) as Jay-Z & Too Shorts “A Week Ago” from Vol. 2 … Hard Knock Life.

So I guess these songs are connected in some abstract way which you connect using the word “root” a few times, mostly hinging on Three 6 Mafia, Memphis, and soul samples.

*I can’t take any responsibility for most of the music Jadakiss has released since signing to Jay-Z’s label.  I consider his career only existing before the big name feature and production dud he dropped in 2009.

Connect with T-Rock: Twitter

Mr. Sche: Website

Starlito: Twitter // Tumblr // Bandcamp

Don Trip: Twitter // Website

In typical BEB form, this post is –technically speaking– about six years past its “fresh” date. Hopefully most of you have already made yourselves familiar with The National‘s contribution to The Black Sessions series – a French radio program begun in 1992 and hosted by Bernard Lenoir (“Bernard the Black”, get it?).

The band recorded this stunning 13 song set in 2005, while touring in Paris to promote Alligator. The set consists mainly of tracks culled from the aforementioned album, as well as the band’s Cherry Tree EP. These bitter, blistering performances seem miles away from the towering sadness and introspection of The National’s more recent work, and it’s easy to see why some longtime fans might be aching to hear this blackly humorous side of the band again. Still, speaking as someone who fell deeply in love with High Violet last year, I’m content to take this opportunity to revisit the band’s glory days while patiently waiting to see where they’ll take us next.

If you’re as late to the game as me on this one, you can pick up the full set below.

Thanks to Ryan’s Smashing Life for posting about the session.

The National – Black Session (2005) [93.9 MB]

The National // All The Wine
The National // Secret Meeting
The National // Driver Surprise Me
The National // Lit Up
The National // Cherry Tree
The National // Baby, We’ll Be Fine
The National // Geese
The National // City Middle
The National // Looking For Astronauts
The National // Mr November
The National // Daughters Of The Soho Riots
The National // Abel
The National // Wasp Nest

Connect with The National: Facebook // Twitter // Website

Speaking of Old Tapes, did you know that their debut EP, This Is Goodbye, is now available on bandcamp? It features a dark, angular cover of Chris Isaak’s “Wicked Game”, which you can stream below.

Old Tapes // Farewell
Old Tapes // What I Need Tonite

Connect with Old Tapes: Bandcamp // Facebook // Twitter // Website

The accompanying 8mm video captures the track’s warmth and woozy romanticism. Check it out below, then head over to yonder bandcamp to pick up the song (and an additional live version) for just $1.

Or, if you’re a vinyl fanatic, look no further, as Louisville Is For Lovers have pressed a limited number of gorgeous green split 7″s featuring the track.

Connect with The Deloreans: Bandcamp // Facebook // Twitter // Website

Toro Y Moi’s new EP, Freaking Out [Carpark Records], is by far the most up-tempo work that Chaz Bundick has put out under the Toro Y Moi name. Chaz continues to take new stylistic risks and this time he’s back with electronic offering. This jump back to the synthetic lands with varying levels of success. There are truly brilliant moments interspersed throughout the EP that make it more than worthwhile to pick up. If Underneath the Pine hadn’t driven home the point that Toro Y Moi is a multifaceted musical force worth reckoning with, this EP serves to further clear any misconceptions.

The musical direction of Freaking Out is most closely related to, in my mind, the title track from his break out album, Causers of This. This difference between “Causers of This” and the songs on Freaking Out, however, is that they are bolder, better, and take risks that “Causers of This” didn’t take. The difference comes as a welcome change; “Causers of This” seemed to be an uncharacteristically bad execution of a good idea, especially as a title track. In contrast, Freaking Out is disarmingly surprising in its strength and confidently expands upon the electronic production values found on Causers of This.

(Although, after reading the sfcritic interview earlier this year, I’d prefer Chaz to follow his heart. But no matter, pressure is pressure.)

Freaking Out begins on its boldest note, “All Alone,” a celebratory and sexual song that offers some of the most confident vocals you’ll find on a Toro Y Moi track. This sets the pace for the rest of the album and comes to define the title of the EP as more than just its energy level, this album is emphasizing the freak in freaking out and is sure to soundtrack bedrooms everywhere this autumn. This relentless sexuality does not dissipate anywhere on the EP, not in the EP’s title track nor in “Sweet,” nor in the two closers “Saturday Love” or “I Can Get Love.” They’re all dripping in in unabashed sweaty sexiness. Clearly, Chaz gets the funk.

Yet, there are brief moments of weakness on Freaking Out, moments being the key word. There isn’t a song on this five song EP that isn’t awesome, but there are occasional moments that just lack the last push to the punch, the knockout factor. Take a song like “Saturday Love,” a very good song at that: The verses sometimes suffer from weak diction and a decent melody. Still, the song manages to kick ass because of a fantastic chorus and the relentless production of the keyboard, which is out of this world. (I must also admit that every single time I revisit the album to flush out any grievances, they melt away to the playful production values and infectious catchiness of every track.)

Still, the most interesting stylistic decision or, at least, the biggest surprise on this EP comes on its last track, “I Can Get Love,”on which the backing track sounds like something from a European themed racing game on the N64 (Ridge Racer anyone?) “I Can Get Love” hits with serious club banger material underneath the distinct shifty production that has come to define an electronic Toro Y Moi track. I didn’t know what to do with it at first, but on each listen the track grows on me more and more. The persistence and honest gall of the dance groove is invigorating. And in this manner, “I Can Get Love” reflects the whole tone of the Freaking Out EP. It doesn’t shy away from its audacity but instead revels in it and therein lies its power. Plus, it’s refreshing to hear an artist associated with a relaxed nostalgia so forceful in his expression.

And now, I have some metaphorical mud words to throw into the blogosphere, but before I get away from the music, Bostonians should know that they should just go see this stuff done live tonight down at the Paradise, Unknown Mortal Orchestra is touring with a four piece Toro Y Moi and that is just an unreal lineup (Two of the best albums of the year). Seriously, scrape up the cash and scrap any of your other Friday-night plans and go. As for the rest of you, watch out, this tour may be coming somewhere near you.

And now, lets get to mudslinging: Freaking Out and Underneath the Pine have sparked some debate as to what chillwave is and I thought I might throw in my two cents. First off, niche genre classifications are arbitrary and silly. While a quick and catchy tagline is conveniently easier to sell to readers, I think that any artist labeled as a chillwave band would assert their roots elsewhere (probably true for most internet niche genres, for that matter) and I would especially have a hard time calling Underneath the Pine a chillwave album, in fact– I didn’t.

Similarly, while Freaking Out has electronic elements that borrow heavily from the 80’s, its far, far from the initial nostalgic, lazy, laid-back aesthetic that was pinned with the term glo-fi, chillwave, etc. That is, of course, if we are even to believe that chillwave is a style and not a scene (and let’s be honest, there is some, but minimal collaboration, perhaps out of reactive principle, between artists labeled as chillwave. With all the pigeon holing going on, this could be the fault of bloggers.)

Anyhow, if we are to assume that chillwave is actually a genre based on aesthetic, it’s less that the genre limitations are expanding than that artists are expanding outside of the zone of a classification prematurely named by the blogosphere. The news isn’t that genre conventions or limitations are changing, the news should be that a specific artist is expanding his or her repertoire and that’s a hell of a lot more important than trying to frame a picture before its done developing.

See it how you will. That’s my take (Chris’ at least).

Candy Claws – “Warm Forest Floor”

This was the first song I had heard of Candy Claws, and it completely floored me. So peaceful and warm.

How To Dress Well – “Ready For The World”

This is such an ethereal song, it seriously feels like its about disintegrate right in your hands.

Jonsi and Alex – “Indian Summer”

I have a very great affection towards anything Icelandic, and I feel like this is the perfect soundtrack to all my romanticized views of that place.

Bon Iver – “Wisconsin”

This is a b-side from For Emma, Forever Ago, which was probably my most listened to album between 2007-2009. I would consider this song to be the thesis for the whole album, even though it wasn’t on it. A beautiful tale, told in the simplest ways.

Brian Eno – “Always Returning”

I can not listen to this song and not be affected. It takes me to a whole other place.

Connect with Teen Daze: Bandcamp // Facebook // Tumblr // Twitter

Stream “Gentle Man” below, and while you’re there, pick up the duo’s masterful Memory Tapes remix as well. Now if only we could squeeze a full album out of these two…

Jensen Sportag – Gentle Man by CASCINE

Memory Tapes // Wait in the Dark (Jensen Sportag Remix)

Connect with Jensen Sportag: Facebook //  Tumblr // Twitter // Website

I’m still undecided about the Twin Towers imagery and somewhat detached exploitative method of using it to surround your mix tape in controversy. Regardless, Twin Towers 2 – No Fly Zone from Waka Flocka and Slim Dunkin stand as the strongest Brick Squad Mafia release I’ve heard in a while.

The critical consensus from uptight rap listeners and bloggers is that Waka Flocka “isn’t lyrical” and thus “can’t rap”. I’d argue Waka possesses one of the best deliveries and cadence controls in raps entirety. There’s something consistently raw about his lyrics, which come in short bursts as if they hopped directly from his heart and out his head. He rides Southside’s and Lex Lugers dark, brooding trap rap production more perfectly than all others, with better use of beat drops and unconventional song structure than any current artist.

Waka Flocka Flame & Slim Dunkin – Twin Towers Intro

Not really sure how you could discount his performance on this intro, especially when it segues into the most absurd Lex Luger beat heard in a while on “Koolin”. Scariest rap horns ever, I feel like this could easily incite southern club riots.

Koolin’ It – Waka Flocka (Feat. YG Hootie & Kebo Gotti) [Prod. By Lex Luger]

“Hi-Jackin Planez” was released a few months ago but has stayed in constant rotation. I felt Waka was getting a little Lazy on his collaborations with Gucci (whose material of late has been wholly uninspired). This was a welcome return to form full of angry paranoid delusions and threatening braggadocio. Oh yeah, Slim Dunkin’s alright too.

Hi-Jackin Planez – Waka Flocka Flame

Download Twin Towers 2 – No Fly Zone

Connect with Waka Flocka Flame: Website // Twitter

Slim Dunkin: Twitter

Hear his gorgeous renditions of “For Paulina” and “Gone For The Summer, Part 2″ below. Then head over to Daytrotter HQ to pick up the entire session.

From the Tour EP:
Teen Daze // For Paulina

From the Daytrotter Session:
Teen Daze // For Paulina
Teen Daze // Gone For The Summer, Part 2

Connect with Teen Daze: Bandcamp // Facebook // Tumblr // Twitter