Tag Archives: cadence weapon

Music

Cadence Weapon vs. Radiohead and Britney Spears gets indie-fied

As part of their ongoing experimentation with Web 2.0, Radiohead is once again hosting a remix competition for a track from In Rainbows.  This time, it’s for the song “Reckoner.”  

The band has made each of the song’s component parts, or stems, available for purchase on iTunes.   This allows budding (and established) producers free reign to re-assemble the track’s vocals, bass, guitar, piano/strings and drums in any way they see fit.  Throw in the ability to add outside samples (but only those that are copyright-free, of course), and you can see how potentially dope this competition could be.

One of the remixes garnering some attention is by Canada’s very own Cadence Weapon.  Check it out:

Also on the remix tip is this crazy-slash-awesome remix of Britney Spears’ “Womanizer” courtesy of Welikeit.indie.  We don’t normally feature a lot of Ms. Spears here at 4080, but this remix was just too good (especially at the 1:20 mark) to pass up: 

Britney Spears – Womanizer (The Teenagers Remix)

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[Image yanked from For the ‘records’

Music

This Is The Remix!

After recently profiling some dope new music, it’s time to take the next logical step and provide our loyal readers with the freshest remixes of those very same tunes. After scanning our favourite blogs (see the list to the right), we humbly present our favourite re-interpretations of new heat from Erykah Badu, Cadence Weapon, Buck 65, as well as remixes of classic joints by Beck and Pete Rock. You can thank us later. For now, get your listen on!

Erykah Badu – Honey (Seiji Mix) (New Amerykah Part One (4th World War), 2008)

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Erykah Badu – Honey (DJ Day Remix) (New Amerykah Part One (4th World War), 2008)

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Ever since the incomparable Ms. Erykah Badu announced that “Honey” would be her new album’s lead single, bedroom producers across the interweb have been scrambling to rework it. All Up In Your Earhole has an excellent post on the subject, featuring four different remixes of the song including one by the author himself. Of the two remixes listed above, the second is from the Earhole post, while the first is from Fly Music.

Cadence Weapon – House Music (A1 Bassline Remix) (Afterparty Babies, 2008)

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Although Cadence Weapon flirts with electronica throughout Afterparty Babies, on “House Music” he comes closest to fully embracing the genre’s sound. The above remix completes the process, layering Cadence Weapon’s raps over a full out house beat (check out the 3:40-ish mark if you don’t believe).

Buck 65 – Way Back When (Ghislain Poirier Remix) (Situation, 2007)

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This is probably my least favourite remix of the lot. Poirier’s beat works well with Buck 65’s lyrics, but it isn’t as catchy as the Skratch Bastid original. I suppose this is an example of a remix missing the mark. Either way, give it a listen.

And finally, check out these two remixes of some older classics. The “Where It’s At” remix is long (~12 minutes), but interesting enough to warrant at least one listen and the Pete Rock remix is by Pete Rock, so you know it’s bangin’!

Beck – Where It’s At (UNKLE Remix) (Odelay (Deluxe Edition), 2008)

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Das EFX – Real Hip Hop (Pete Rock Remix) (Hold It Down, 1995)

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Music

Canadian Content: Buck 65 and Cadence Weapon

Buck 65 and Cadence Weapon are the binary stars (it’s called a metaphor) of avant-garde Canadian hip-hop. And by avant-garde I mean dope. Both musicians blend thought-provoking, often obtuse raps over eclectic, unconventional beats, resulting in a unique brand of hip-hop that is difficult to describe yet uniquely Canadian. The two are sometimes compared to American underground rappers like Aesop Rock or most of the anticon stable, yet such comparisons fail to capture the multiform, genre-bending sound one encounters on albums like Buck 65’s Talkin’ Honky Blues and Cadence Weapon’s Breaking Kayfabe.

Buck 65 (aka Richard Terfry of Mount Uniacke, Nova Scotia) and Cadence Weapon (aka Rollie Pemberton of Edmonton, Albera) have both released new music in the past several months. Buck 65’s most recent effort, Situation, is, like much of his work, lyrically dense and perhaps a tad too esoteric. Indeed, it requires serious listening to decipher, but will reward listeners who put in the effort. Fortunately, for those who aren’t interested in interpreting lyrics Situation’s beats are accessible enough. Produced by Skratch Bastid, the album “has a more ‘pure’ hip-hop sound” than Buck 65’s earlier work and the jazzy, funky beats keep the record from descending too far into wierdness, especially when Terfry can no longer resist the temptation to go off the lyrical deep end.

Cadence Weapon’s newest album, Afterparty Babies, is similarly characterized by bizarre pop-culture references, “rubbery vocal cadences” and “leftfield excursions.” Lyrically, Cadence Weapon and Buck 65 thus occupy similar places on the fringe of the hip-hop spectrum. Musically, however, the two are practically complete opposites. Cadence Weapon’s sound draws heavily from electro influences, and his beats are populated with strange bleeps and bloops, 808 drums and “molten, neon synths.” In fact, on tracks like the appropriately named “House Music,” Cadence might pass for a competent house music producer (or is that track meant to be ironic?).

While some might be turned off by the two rapper’s penchant for verbose, “colloquial poetry,” there is no denying that both Buck 65 and Cadence Weapon continue to push the boundaries of what hip-hop is capable of. Check out some tracks from their new albums to hear what I mean.

Buck 65 – The Beatific (Situation, 2007)

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Buck 65 – Benz ft. Cadence Weapon (Situation, 2007)

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Cadence Weapon – In Search Of The Youth Crew (Afterparty Babies, 2008)

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I haven’t been able to find copies of either album on any blogs, so if you’re jonesing to hear them in their entirety you may have to torrent them. Or, you could be a real man/woman and buy them here and here.