Scratch: The Ultimate DJ Snags Big Name Artists

With Scratch: The Ultimate DJ and Activision's unofficially announced DJ Hero game currently in development, turntable controllers are destined to become the new plastic guitar. Bemani attempted to popularize a similar Japanese title in America called Beatmania on the PS2, but it failed to catch on. Due to unforgiving gameplay and a mixed bag of songs, the US version of the game didn't strike a chord with many. Scratch looks to incorporate a similar controller/gameplay style similar to Rock Band and Guitar Hero, which looks promising compared to the difficulty of previous DJ games.

The game is set to release during Q2 2009 on the PS3 and Xbox 360. Check out the promising list of confirmed artists below.

• "Intergalactic" by Beastie Boys
• "Flashing Lights" by Kanye West
  
• "Let's Get it Started" by The Black Eyed Peas
  
• "Slacker" by Tech N9ne
  
• "Don't Sweat the Technique" by Eric B. and Rakim
• Other Songs From: Run DMC, The Gorillaz, Nelly and Deltron 3030

Source: Joystiq

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Scratch: The Ultimate DJ Brings Back The Turntables

The music/rhythm genre will soon be expanding to hip hop this spring when Genius Products, Genco Interactive and 7 Studios launches their new title, Scratch: The Ultimate DJ for the PS3 and Xbox 360. Much like how Rock Band and Guitar Hero gained influences from the original Japan-only Konami titles, GuitarFreaks and DrumMania, Scratch looks similar to Konami's turntable-based Beatmania. Harmonix, Activision, and even the lagging Konami have been sticking to the rock genre, but Scratch will hopefully further improve the formula that Beatmania created.

While Konami's new IP, Rock Revolution is looking very poor against Guitar Hero and Rock Band, Genius, Genco, and 7 Studios looks to really stand out against its predecessors and create a legitimate contender. Beatmania had a steep learning curve and limited library of electronic music, but Scratch will blaze its own path with a large hip hop influence. The developers are collaborating with famous hip hop producer Quincy Jones III and his QD3 Entertainment studio, who produced tracks for Tupac Shakur, LL Cool J, and even the score for The Fresh Prince of Bel-Air. Based on released comments, QD3 sounds dedicated to utilize their experience in the music industry and hip hop to make the experience as authentic as possible. Although no specific names were revealed, the developer promises "original recordings from the catalogs of many top urban artists". The game looks to have a unique cel-shaded look with nightclubs, dancers, and b-boys creating a vibrant atmosphere along with other urban environments. Current titles have done a great job of representing rock music and its style, but Scratch sounds like a great chance to truly bring hip hop culture to life.




The 'Scratch Deck' turntable controller will be created by Numark, manufacturer of a variety of real-life DJ equipment. Based on screenshots, the controller should at least contain the familiar five colored buttons along with the turntable. What sets the gameplay apart from previous music/rhythm games is the ability to alter music tracks in real-time. The game will include the trademark rhythm patterns, but also allows you to "re-imagine songs on the fly and add [your] own creativity". Specifics have not been named, but hopefully it will be more than a simple freestyle section seen in older music/rhythm games. There appears to be some sort of career or story mode, as you choose a DJ personality and rise up from working garages to the biggest nightclubs.

There have been attempts to integrate hip hop culture into video games, but never quite like this. Get On Da Mic poorly attempted to do karaoke while the Def Jam series presented a very solid wrestling/fighter. The continued rise of hip hop music is a great opportunity to show gamers what the genre really has to offer in terms of interactive entertainment. With Activision trademarking 'DJ Hero' earlier this year for a possible new title, let's see if Harmonix or Konami provide any response.

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Kenna's Masterful Genre Mash Up

Kenna is a unique artist because his music defies labels and typical music stereotypes or requirements. A blend of hip hop beats, synth, electronica, and alternative rock, his two albums, New Sacred Cow and Make Sure They See My Face have gained him a devout following. He has had to deal with numerous delays, inner politics, and record label problems throughout his career, as well as trying to find a place in the mainstream music scene and with radio airplay. He has gained an underground image and respect from others in the industry with his catchy music and the help of producers and close friends, Pharrell Williams and Chad Hugo of The Neptunes and N.E.R.D. Kenna's smooth vocal work is unlike any I've heard recently and it just fits. His music spans the spectrum that feels natural rather than lost or confused.


Kenna Zemedkun was born in Ethiopia but soon moved to the US not long after. His image and perception of music was largely changed by U2's Joshua Tree, resulting in him learning to play the piano, study classic singers like Stevie Wonder and Marvin Gaye, and listening to bands like Duran Duran and The Cure. He didn't initially think of stepping into the music scene until college, where he joined with high-school friend Chad Hugo to work on demo tapes and his debut. His influences can be heard throughout his music, creating a unique blend of genres and styles with that Neptunes touch. He was initially signed to Interscope under Fred Durst's subsidiary, Flawless. But after having problems securing backing from Interscope as well as questions about promotion and marketing, he was eventually released. However, he soon found a new home with Columbia where he finally released his 2003 debut album, New Sacred Cow.

Before the album's release, the first single "Hellbent" was released much earlier and caught many people's attention. A melancholy tune that featured Kenna's emotional vocals along peaceful synth work and amazing bass beats, the combination with the music video is what caught my attention. A claymation animated video featuring a creature trapped in a gray, drab world, Kenna already seemed different. But after all of the delays and almost dropping off my radar, I discovered New Sacred Cow. The album really does span a variety of styles and moods, not only restricted to the moodier and mellow sound of "Hellbent". Follow-up single "Sunday After You" is a little more up-tempo with some good beats and guitar work and sampling. Telling about a failing relationship, he discusses how perception is altered and how quickly things change. "Red Man" is a fun song that has nice guitar work backed behind some solid drum beats. But New Sacred Cow isn't all rock and beat work. "Yeneh Ababa (Rose)" is a nice ballad set with mostly just a piano and a little horn work. A very bittersweet song comparing life as a rose with thorns, fallen petals, and the one left behind, he can take things in so many different directions. The title track is an upbeat song that discusses religion in a very interesting light. His debut effort showed the many colors he wears and how well they all fit together.

The 2007 release of Make Sure They See My Face wasn't without its own share of delays and problems. After low sales of New Sacred Cow had him searching for a new record label, he ended up back with Interscope. While his first album was only co-produced by Chad Hugo, Pharrell Williams joins the production team on a couple tracks. Overall, the album has a much more upbeat, polished, and feel-good vibe to it rather than the more mellow atmosphere of the first record. Inspired by his attempted climb to Mount Kilimanjaro, the album has a more guided direction and fits better in the current music space. This doesn't take away from the variety and style at all, and kind of shows off the different sides of Kenna. "Say Goodbye to Love" brings an old-school feeling, exhibiting Kenna's vocal range. "Baptized in Blacklight" has a largeness to it, with solid drums, a bass line, and some interesting synth lines making its way in. Justin Timberlake makes his way into one of the tracks with some background vocals in "Phantom Always". The song has a nice groove and harkens back to some of the more mellow work of New Sacred Cow with the new spin of Make Sure They See My Face. The song talks about a guardian, or phantom that is always watching over him. While he seemed to be searching for his place in the first record, the second feels like he's starting to find that spot.

Kenna has so much talent that's only better with the production work of The Neptunes. He's also shared his skill with other musicians, working with Linkin Park's Mike Shinoda in his hip hop project, Fort Minor and producing tracks for Ashlee Simpson. New Sacred Cow and Make Sure They See My Face show a nice progression despite long delays and other problems he has had to deal with. While his second album is a little more modern and relevant by today's standards, his first album is one of my favorites. Regardless, check out his music and see what he has to offer.

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N.E.R.D. Comes Back With Energetic Seeing Sounds

After the group took a hiatus in 2005 to focus on other projects, Neptunes production duo Chad Hugo and Pharrell Williams and close friend Shay Hayley reunite for their third album, Seeing Sounds with a purpose. The Neptunes have produced many big-name artists both as a duo and individually, with Pharrell staying more in the forefront with various record guest spots and even producing a solo record independent of the Neptunes and N.E.R.D. Chad Hugo has preferred to stay behind the scenes while Shay Hayley avoids the spotlight. N.E.R.D. has always been known for a unique sound different from their other acts, often making it difficult to name specific genres. While their backbone is in hip-hop, their mix of alternative rock, funk, and other styles creates a fusion of sound that refuses to squeeze into that mandated mainstream sound. Pharrell has stated, “We didn't care about genres; we're not doing this for the money,” making an album for their fans and their experimental movement.

From left to right: Shay Hayley, Chad Hugo, and Pharrell Williams.

Their previous albums, In Search Of… and Fly or Die definitely threw fans for a loop, as it varied greatly from the well-known production of the Neptunes and Pharrell’s solo hip-hop music. In Search Of… originally released in Europe in 2001 and featured a digital sound more akin to the Neptunes. To fit into a more specific category for the US release as well as to differentiate the group from their Neptunes work, they re-recorded the album with live instruments for a more rock sound. They recruited Spymob to help in the recording since they didn’t have enough to time to learn certain instruments adequately. 2004’s Fly or Die showed the group playing the actual instruments and in live performances. More of a pure rock album, it shows off N.E.R.D.’s unique flavor and personality. Seeing Sounds follows this trend to make this nice fusion of rock and hip-hop. N.E.R.D. (standing for No-one Ever Really Dies) embodies that pure energy they bring to their music and live performances. This album just takes that philosophy to the next level, which Pharrell explains both their approach and album cover.

"If you really analyze that," Pharrell added, "the most inspiration is probably deep inside a synesthesiac. So for us, 'seeing sounds' is what we relate to the most. We figured we'd make an album out of it. Energy and emotion was the criteria [while recording], but we made the music anticipating the [live] show. That was the most important thing... [The song] 'Spaz' is [an] old school, hip-hop feeling with some drum and bass. It becomes a big, tall monster. It's almost like this big gorilla looking down at you. If he smacks you, he kills you. His fingers are the size of your body. That's kinda what we're doing. We're facing this big monster of, of what we know is out there, of what we see, that big monster of energy."

Seeing Sounds really does feel like it abandons the conformities and considerations to ‘sell’ and get mainstream airplay, with an album that just feels good. Things start off with Pharrell reminiscing his childhood in “Time for Some Action”, setting the tone and atmosphere for what’s to come. The first half of the album features a more hip-hop inspired sound, with singles “Everyone Nose (All the Girls Standing in the Line for the Bathroom)" and “Spaz” exhibiting the more beat-centric sound. However, the second half of the album is where the group really shines. Showing off more experimental sounds and genre-bending tracks, it definitely feels stronger. “Happy” features a traditional rock groove with a nice hip-hop vibe that only they could make-work. “Love Bomb” is a roller coaster of sound, with Pharrell’s smooth vocals riding across the highs and lows. “Sooner or Later” follows a similar trend, yet is unique on its own. Starting off with piano and simple hip-hop beat, the song soars in the chorus with its big sounds, mellow feel, and amazing guitar solo. Pharrell gets the majority of the writing credits this time around, but everyone contributes. You can feel each song’s multiple layers, summing together to form that fusion of energy.

N.E.R.D. defines pure energy. It’s an artistic album, one that fits whatever vibe you’re feeling. It captures the spirit of their first album, In Search Of..., of rebellion and feeling. However, the lack of true mainstream singles and other contributing factors will most likely limit the appeal of the record. Not every song is a hit, as some feel like they're trying too hard. Seeing Sounds is not perfect and it’s not for everybody, but it’s something different.

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Hip Hop Division

Tupac Shakur (left) and The Notorious B.I.G. (right) are one of the larger representations of the rivalries in hip hop.

The genre is known for its rivalries and feuds, be it between different regions or specific artists. While many of these so-called divisions can be partly contributed towards media hype and more-or-less professional debates, the root of the issues tend to be about the talent, reputation, and authenticity of their background and skill. This division also tends to extend to the consumer, taking form in music preferences and favored hip hop styles. Hip Hop tends to have specific audiences due to the explicit nature of the music and the issues some have with the subject matter and the overall image the genre portrays. The stereotype is usually pictured as being bout bling, money, women, cars, guns, and a hard life, which fuels and divides the consumer reaction and overall feelings about the genre.

I think the current division goes much deeper than simple hip hop feuds. The music is infamous for its much hyped “East Coast vs. West Coast” rivalry in the ‘80s and ‘90s, with such artist feuds like the Notorious B.I.G. vs. Tupac Shakur still influencing the hip hop genre today after their untimely deaths in drive-by shootings. Fans of the genre tend to appreciate the music for the overall production and hard beats or the lyrical content and witty flow. Although not mutually exclusive, there is not that much crossover between the two categories. People either want to listen to songs that can bump in their speakers or inspire them and address issues and ideas beyond the stereotype. As artists fight for airplay, record sales, and contracts with record companies, it tends to be less about the music and more about what will sell. The controversy surrounding hip hop and its musical quality is hard to gauge as people listen for these two very different reasons.

A chart showing the steps to Soulja Boy’s Crank That dance.

A great example of this is artists like Soulja Boy. With his big single, “Crank That”, his trademark “Soulja Boy” dance, sunglasses, and feel-good nature are examples of the more commercial and pop-inspired aspects of the genre. Catchy hooks and dance cues such as, “Watch me crank dat, Soulja Boy” and “Superman dat oh” cover up the more explicit lyrics. Other artists considered being more about “hardcore” or “gangsta” rap such as classic group N.W.A. or recent artists like G-Unit have shown another side of the music and have garnered some of the criticisms of its stereotypical musical content. Songs about the police, guns, drugs, and women may be relevant to their background and history, but it has only fueled the stereotype that many people perceive of hip hop. While there are many different subgenres, the overarching displeasure is still about style-over-substance.

Artists such as Lupe Fiasco, Nas, and Kanye West have been changing the game with their thoughtful lyrics, different approach, and musical substance. Nas’ 2006 album Hip Hop is Dead addresses the health and depth of the genre, citing the loss of control artists have over their music versus the record industry executives. These are only a handful of artists that have managed to be successful without molding to the stereotype, with many underground artists not even seeing airplay or media attention. Their lyrical content covers sociopolitical issues, current and relevant economical problems as well as the often-required money and women topics. They don’t constantly put on that rags-to-riches persona and approach the business differently.

As a fan of both types of music, it’s hard to convince or show others the complexities of the genre. While not having as wide of an appeal as genres like rock music, there are many different styles and artists that can cater to multiple audiences.

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