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Articles Written by: NATE PATRIN
Another month, another meditation on the legacy of James Yancey. It's been three years since Yancey's untimely death and his grip on the imagination and inspiration of hip-hop artists still hasn't loosened-- and somehow, for the most part, hasn't ...
From NATE PATRIN,
Pitchfork,
6 Mar 2009
For all of the hip-hop landmarks to see the light in 1988-- It Takes a Nation of Millions to Hold Us Back, , Straight Outta Compton, Critical Beatdown, Long Live the Kane, The Great Adventures of Slick Rick-- one detail that often goes overlooked is ...
From NATE PATRIN,
Pitchfork,
2 Mar 2009
The title track that opens this album is kinda funny: as a minimalistic click-track/electric piano composition murmurs away behind him, a pitched-up Mr. Wiggles/Quasimoto voice claims to have a hand in dozens of pivotal moments in rap, funk, and rock ...
From NATE PATRIN,
Pitchfork,
26 Jun 2008
At what point does a hip-hop producer decide to lean towards live instrumentation? Is it something that comes up after years of sample-searching, where months upon months' worth of listening hours and beat dismantling spur a fascination with the ...
From NATE PATRIN,
Pitchfork,
23 Jun 2008
This usually isn't something
readers (or writers) take into account when it comes to this site's reviews,
but you might want to consider that rating up there a purely vestigial
placeholder this time around. A 5.0-- basically 2.5/5 stars-- is ...
From NATE PATRIN,
Pitchfork,
9 Jun 2008
Trite as it is to dredge up
drug-trip comparisons while attempting to describe how music sounds, there's a
particular effect of failed, go-nowhere attempts at psychedelic rock: It aims
for making you feel like you're high, or at least able to empathize ...
From NATE PATRIN,
Pitchfork,
3 Jun 2008
Not only was Witching Hour
one of the better albums of 2005, it more or less saved Ladytron's career. For
a group that sprang up right on time for the whole early-aughts electroclash
morass to subsume them, the
group's transformation to a subtly more ...
From NATE PATRIN,
Pitchfork,
2 Jun 2008
The more you think about it,
the more ironically fitting it is that one of the biggest watershed moments in
hip-hop history-- the controversy over sample rights and sonic appropriation-- was made by a 32-year-old TV commercial producer. Steve Stein was ...
From NATE PATRIN,
Pitchfork,
30 May 2008
In one sense, you could call
Morgan Khan an importer. That's basically what he did when he set up Street
Sounds, the subsidiary to his dance label Streetwave, and released the first Street Sounds Electro compilation in 1983: here were eight tracks out ...
From NATE PATRIN,
Pitchfork,
22 May 2008
