The Spacebomb Sound with Matthew E. White
Sound Decisions with Mac DeMarco
Matthew E. White and his studio team dissect some choice productions with a track-by-track lightning round, and talk songwriting with eccentric LA-via-Queens wordsmith Mac DeMarco.
From Harry Nilsson’s appropriately political “Beehive State” and Pet Sounds’ jangly “I Know There’s An Answer” to the Jay Z classic “Big Pimpin’‘” and D’Angelo’s stirring “Back to the Future, Pt. 1,” Matthew E. White and Spacebomb Sound producer Pinson Chanselle analyze their favorite productions. Using “the John Cage” technique, they pick songs out of a hat according to the I Ching method the minimal composer popularized with his piece Music for Changes. This episode of the Richmond, VA collective’s monthly show also features an interview with singer and guitarist Mac DeMarco – recently relocated from his longtime home in Queens, NY’s Far Rockaway neighborhood for sunny Los Angeles – who shares some of his own best-loved artists, what it’s like playing all the instruments on his records and why he doesn’t consider himself a producer. Keep it locked for unexpected pairings (King Tubby and “The Christmas Song,” anyone?) and Matthew’s unique insight into these iconic tunes.
By the way, that's how you use an MPC, courtesy of Erick Sermon.
What exactly is the "John Cage method"? Hint: it's related to the I Ching.
Listen to this supreme tribute to Charles Stepney, then [learn]((http://daily.redbullmusicacademy.com/2016/02/key-tracks-earth-wind-and-fire-thats-the-way-of-the-world) how he shaped Earth, Wind & Fire's "That's The Way Of the World."
Revisit Matthew's interview with the Meters' George Porter, Jr. for the Spacebomb Sound's special on New Orleans music.
Watch Kendrick Lamar's insane video for "For Free?"
Listen to the debut EP from Beach Fossils frontman Dustin Payseur's other project Laced, over at his label Bayonet Records' website.
For more on Bob Dylan, read Bard scholar Greil Marcus' Harvard lecture on "The Ballad of Hollis Brown".
Van Dyke Parks on Brian Wilson's mastery of the control room during the recording of the Beach Boys' classic "Good Vibrations."