Artists

Nashville-via-Detroit power-pop maestro—and one-time wingman to Jack White in The Raconteurs—Brendan Benson is back with a new single, “Half a Boy (and Half a Man)” on White’s Third Man Records label. As he puts the finishing touches on his first solo album in nearly half a decade, and preps the upcoming reissues of his back catalog, Benson made us this playlist of great moments on the mic. “This list began as a ‘favorite singers’ list. After listening though, I think a more apt theme would be ‘favorite vocal performances.’ There are way too many to list, but I thought these were some fine examples of some really inspired and moving vocals. The power that comes from a believable vocal delivery is undeniable. It can reach deep inside you and tug at your heart strings. (What are those, btw?) It can make you pull your car over to cry on the side of the road. It can cause rebellion and incite riots. It can give you physical sensations like goosebumps or chills. It can make you believe in love. Or it can make you despise love. It’s all about the singer and the song.”—Brendan Benson

The erudite Brian Eno once said, “There were three great beats in the ’70s: Fela Kuti’s Afrobeat, James Brown’s funk, and Klaus Dinger’s Neu!-beat.” They are so great, in fact, that strains of their DNA can be detected in practically every groove-based genre of the last 35 years. These include not just hip-hop and techno, but industrial and jungle/drum ’n’ bass as well. Bringing together landmark recordings from all three, this playlist is a sprawling tapestry of densely undulating polyrhythms, purring 4/4, and ecstatic syncopation punctuated with seriously nasty breaks. The bulk of the tracks feature Kuti, Brown, or Dinger, obviously. There are exceptions, however. Kraftwerk, for instance, explored Dinger’s motorik rhythm to great effect years after the group and drummer had parted ways. Hit play and find out why Eno knows what the hell he’s talking about.

When SoundCloud launched in 2007, it was initially populated by DJs who posted hours-long sets, like the much-missed collective East Village Radio. It was the new MySpace, a service where Flying Lotus posted workshop demos, and labels like Warp and Ninja Tune posted advance singles of upcoming albums. Some of the service’s earliest legal battles were against major labels that objected to DJs mixing their tracks without legal consent, as well as musicians that posted their material without proper clearance. Eventually, it turned into a YouTube-style service where people uploaded “freeleases” in search of internet buzz. Bryson Tiller, Kehlani and, most famously, Chance the Rapper are just a few who uploaded their mixtapes to SoundCloud.Before SoundCloud rap was a phenomenon feted by Rolling Stone, the New York Times, Complex, and dozens of lesser trend-hunter publications, there was Tumblr rap, the nickname briefly given to buzzy acts like SpaceGhostPurrp and Antwon; and MySpace rap, which yielded “hipster rappers” like the Cool Kids, Uffie, Pase Rock, and Amanda Blank. (Before he signed with Lil Wayne’s Young Money and went supernova, Drake was one of MySpace’s most popular unsigned artists.) SoundCloud rap may be useful today to describe a gaggle of rappers that share sonic traits: lo-fi production, hooky chants, emphatic lyrics that are usually talk-sung, and vague shock tactics that are as punk rock as Billy Idol. But at the end of the day, SoundCloud is just a service.With that in mind, SoundCloud rap sounds like an extension of a thread that arguably began in 2010 with Odd Future (whom some publications compared to the Sex Pistols). As the genre of rap becomes more notional than actual—lyrics are harmonized and sung in barely recognizable hip-hop cadences, and beats are reduced to murky approximations of a boom-bap tempo—MCs trade form for texture, and professionalism for bellicosity. SoundCloud rappers are representative of the genre’s post-regional phase, when it’s no longer uncommon for a Philadelphia hook-man like Lil Uzi to sound like a trapper from Atlanta, a Texas melodicist like Post Malone to sound like a rapper/singer from Chicago, or a Florida bedroom producer like SpaceGhostPurrp to sound like a gangster from Memphis. In the whirlpool of internet culture, everyone is a digital representation of Chris Anderson’s “long tail” theory.This doesn’t mean that SoundCloud rap isn’t responsible for vital work. Those aforementioned stories are motivated by controversial upstarts like XXXTENTACION, Tay-K (both of whom are facing serious criminalallegations) as well as Lil Pump, Lil Peep (RIP), Wifisfuneral, Smokepurrp and a handful of others landing on Billboard’s streaming-enhanced Hot 100 charts. Smokepurrp’s drawling “Audi”—with its chants of “lean, lean, double cup” and pummeling trap bass drums—is as vital as any 2 Chainz single this year, and Rico Nasty’s loopy nursery chant “Hey Arnold” replicates Lil Yachty’s charm. (In fact, the latter eventually appeared on a “Hey Arnold” remix.)Still, much of SoundCloud rap’s entrée into the 2017 Zeitgeist can be credited to its successful atomization. There are dozens of rappers who fit into the rubric, and it’s unlikely that you’ll remember most of them five years from now. But it’s fun while it lasts.

Justin Peroff is the drummer for Toronto indie-rockestra Broken Social Scene. Hes also the manager for Harrison and McCallaman, two artists at the forefront of the citys avant-R&B/future-funk movement. For his Dowsers playlist, Peroff shines a light on the beatmakers, MCs, and art-pop savants who comprise the citys current musical vanguard.

"I love Toronto. Lately, the source of my citys inspiration comes from the young music communities whose members average birth year is 1995. That also happens to be the year I left the burbs for the city and officially called Toronto my home. This playlist is an example of that inspiration." — Justin Peroff

Broken Social Scene were on a roll in the early ‘00s. After releasing the great, mostly instrumental Feel Good Lost in 2001, their big breakthrough came the following year with the instant classic You Forgot It In People, which achieved a perfect balance of being simultaneously intimate and monumental. Coming up in the middle of the post-millennial indie-rock revival, BSS held their own among bands like The Strokes, Interpol, and The Walkmen. In 2005, they released their masterful and complex self-titled record, which contained a gigantic list of contributing personnel and boasted a 63-minute runtime. BSS were steadily becoming one of the most powerful supergroups in modern rock. Then, they took a sort-of hiatus, and exploded into a diaspora of side-projects before releasing Forgiveness Rock Record in 2010. So what, exactly, did they do during those five years? Okay, take a deep breath.In 2007, Kevin Drew released his first “solo” album, under the title of Broken Social Scene Presents Kevin Drew: Spirit If..., which was followed by what was essentially a Broken Social Scene tour that included tracks from that album and also from their previous records. The following year saw Brendan Canning’s own project, Broken Social Scene Presents Brendan Canning: Something for All of Us… (which featured guest vocals from Drew). Guitarist Andrew Whiteman’s band Apostle of Hustle released the jangly, shuffling National Anthem of Nowhere, whose title track had been road-tested in BSS shows; guitarist, bassist, and horn player Charles Spearin (also of Do Make Say Think) organized an avant-garde record called The Happiness Project. Feist released her mainstream breakthrough The Reminder (whose “I Feel It All” shares DNA with Drew’s “Safety Bricks”); fellow vocalists Emily Haines and Amy Millan put out their respective solo debuts.These albums represent a whirlwind of musical energy—yet, none of it went towards a proper Broken Social Scene album. What would have happened if the band had put out an album that reflected its members’ work from 2006-2009, instead of waiting until 2010 to team up for Forgiveness Rock Record? We can’t know for sure, but we can get close. This playlist envisions a “lost” BSS record of sorts, a potential album that never existed. So, close your eyes, travel back to the person you were 10 years ago, and pretend you’ve discovered a new Broken Social Scene record. Here we go.

Westside Gunn and Conway the Machine are the closest things to conventional East Coast rap that Eminem has ever affiliated himself with. They arent giddy hitmakers like 50 Cent, nor bizarro pill-poppers like D12; theyre more like Obie Trice, if he only rapped over the most austere Alchemist beats. If they were the Clipse, Gunn would be Pusha T, the flashy, flamboyant personality, while Conway would be Malice, the calculating visual technician, both exposing the hustlers lifestyle but never quashing spilled blood. Gunn built his buzz while Conway was recovering from a gunshot wound in the face from a 2013 incident. Now, they stand in front of one of the biggest audiences in the world: Gunn fresh off his outstanding Hitler Wears Hermes mixtapes, and Conway making numerous guest appearances and live radio freestyles.Though they’ve painted industry numbers to a point—mixtapes, big-name cosigns—they’ve taken an offbeat path to Shady Records. They’re brothers in blood, in business—Gunn managed Conway initially—and in rap. Their streets are Buffalo, NY, but the feel of their records is Brooklyn, Queens, and the Bronx, and their lyrics are indebted to the classics of Nas, JAY Z, Raekwon, and Capone-N-Noreaga. Releasing multiple projects on limited wax with England’s Daupe Records, which now retail on eBay for tenfold, their songs aren’t on the radio, but their faces are spray-painted on murals all over the world. Theyve named their label Griselda Records after the queen of narcotics trafficking, and styled themselves Fashion Rebels, their mugs colorfully stitched on hats, hoodies, and tees that sell out within minutes on Instagram.Gunn and Conway continue the formula of slick NYC brutality over minimalist beats that dont leave your subwoofers in a tizzy. Like post-Roc Marciano acts Ka, Hus KingPin, SmooVth, SonnyJim, et al., their approach isnt the 808 and a drum kit, its the dust-speckled four-bar vinyl loop. Combine that with unmatched chemistry, an in-house producer, Daringer, who rarely works outside the clique, and the unknown ills of upstate New Yorks historically bleak and violent corners, and you get a familiar late-’90s feel with references to Yeezy Boosts, cherry BMW X7s, and sneaker colorist Ronnie Fieg. Their fanbase, which includes Eminem, Royce da 5’9”, and Academy Award winner Mahershala Ali, has spoken: There’s still space for splashy late-’90s East Coast rhymin’ in the era of mumbling for millions.

Here’s to the greatest album artist of the 2000s: the most consistent and startling long players, in the old school sense. I can’t think of another artist who has recorded albums as rewarding as Supreme Clientele, Bulletproof Wallets, The Pretty Toney Album, and Fishscale — all immersive in the best sense. I’m sorry I lost track after 2010’s Apollo Kids, a quickie that predated a series of soundtracks for a graphic novel series.In the following list, I’ve cheated: “Winter Warz” is a Wu-Tang track in name only, but “Shadowboxin” appeared on GZA’S Liquid Swords and it’s the best Method Man appearance; and “Wu-Gambinos” has Ghostface’s best classic Wu-era rap but it’s on Raekwon’s Only Built 4 Cuban Linx.Visit our affiliate/partner site Humanizing the Vacuum for great lists, commentary, and more.

Nashville indie rockers Bully have returned with their second album, the fierce ‘n’ feisty Losing (Sub Pop). For her Dowsers playlist, band braintrust Alicia Bognanno shares a selection of recent favorites. “I wanted to put together a list of what I’ve been listening to recently, because a lot of really great music has been released in the past six to 12 months. Here ya go!”—Alicia Bognanno, Bully

Theres so many songs that shape the music we create, and its hard to put them together in a playlist that is under 50 songs. Its always all over the place. I actually had bandmates tell me my list had to be shorter than this. Hit me up for the extended playlist if you like. I also have four other playlists that the rest of our band members are happy to share with what theyre listening to right now. ~Eric Nordby

Recently at The Dowsers, we had Dale Crover of sludge-rock titans The Melvins make us a playlist of his favorite drummers to coincide with the release of the bands double-album opus A Walk with Love & Death. Now, it’s bandmate Buzz “King Buzzo” Osborne’s turn to salute his six-string heroes: Of course, I could fill countless playlists with the likes of Jeff Beck, Eric Clapton, Jimi Hendrix, Billy Gibbons, and Jimmy Page but that would be too easy. Everyone likes those guys. Here are a few guitar players that are interesting to me and not necessarily in a “traditional” guitar-hero sense. As a thinking and working guitar player, I find all of these guys extremely inspirational.—Buzz Osborne, The MelvinsJames Honeyman-Scott, The Pretenders: "Tattooed Love Boys" Love the solos on this and his cool use of harmonics. It’s a pity he ODed. Lord knows where he could have taken his guitar.Dave Shepherd, Weedeater: "Weed Monkey"Shep has a way of dragging out the riff that I love. Weedeater to me are what Flipper would sound like if they played heavy metal. Shep’s a huge part of that. It’s in his hands and attitude and I’m a big fan.Jon Spencer and Neil Hagerty, Pussy Galore: "Dick Johnson"I think Jon Spencer is the most underrated guitar player out there. Once again, it’s all in the attitude. This song is perfect. (I included Neil Hagerty on this because I don’t know who plays what.)Dave Davies, The Kinks: "Attitude" (One for the Road live version)Daves guitar makes this song. What a great riff! No one ever talks about Daves guitar playing and they never talk about this song, which is one of their best.David Hidalgo, Los Lobos: "Viking"Los Lobos are the most eclectic band from L.A. and Davids guitar playing is an essential part of this. Also, his work with the Latin Playboys is some of the best music ever made. I’ve seen Los Lobos countless times and I’ve never seen them play a bad show. It doesn’t get any better.Eddie Hazel, Funkadelic: "Hit it and Quit it"Eddies solo at the end of this song buries me every time. One of my all time favorites ever. Tragic early death of a supersonic talent.Ron Emory, T.S.O.L.: "Weathered Statues"This stuff was very refreshing when it came out in the early 80s. I’ve always thought Ron’s playing on this song was electric, and a nice change from the “hardcore” that seemed to boringly dominate everything at the time. Huge inspiration.Ted Falconi, Flipper: "I Saw You Shine"I have no idea what Ted’s playing most of the time and it doesn’t matter. Without Ted, Flipper it wouldn’t work. Flipper is one of the best bands ever.Andy Gill, Gang of Four: "Paralysed"This is the first song I ever heard by these guys and Andy Gills guitar playing worked its way into my brain and never came out.Robin Trower: "Bridge of Sighs"Yes, he sounds like Hendrix—but who cares? This is one of the most soulful songs ever, and it’s the right tempo! I saw him once in the early 80s and he toasted two Fender Twin reverbs during the last song. Smoke and fire.Jeffrey Lee Pierce and Ward Dotson, The Gun Club: "Ghost on the Highway"I listed both of these guys because I have no idea who plays what on this and I love it either way. An amazing song on one of my favorite albums. I’ve listened to this at least once a week for well over 20 years.Captain Sensible, The Damned: "Smash it Up Parts 1 & 2"Severely underrated guitar player. Don’t skip the first part of this song. Saw them in the early 80s and it remains one of my favorite memories of live music. I never tire of The Damned.Greg Sage, Wipers: "When It’s Over"My God… nothing describes the hopelessness that was and probably is the Northwest better than this guy. I still get chills every time I hear this song. The Wipers aren’t given the attention they deserve and Greg Sage is one of the best guitarists ever.