Oliver Wang
Oliver Wang is an culture writer, scholar, and DJ based in Los Angeles. He's the author of Legions of Boom: Filipino American Mobile DJ Crews of the San Francisco Bay Area and a professor of sociology at CSU-Long Beach. He's the creator of the audioblog soul-sides.com and co-host of the album appreciation podcast, Heat Rocks.
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This German group delivers steel drum covers of Mary J. Blige, Mobb Deep, Gang Starr and more.
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The group's new album — its first in 18 years — was recorded before the death of founding member Phife Dawg last March and was just released this month.
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Frankie Reyes is a Los Angeles-based artist who remakes classic Mexican and other Spanish-language ballads and waltzes using a vintage synthesizer. His new album is called Boleros Valses y Mas.
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The 1972 concerts at The Apollo were recorded but, inexplicably, never released — until now. They show a side of Brown content to turn the show over to his collaborators.
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Maybe this is all part of some performance-art piece we've been unwittingly sucked into. But either way, it seems to be working.
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Ghostface Killah's new 36 Seasons is a concept album with a big cast. It stars his Tony Starks alter ego in dense action scenes.
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Steven Ellison has built an impressive reputation among critics and fans in the know for mixing hip hop, jazz and electronica into something original. But even for the aforementioned followers, the new album from Ellison — better-known as Flying Lotus — is a surprise. It's all about death, not as something to be mourned but as a journey to be anticipated.
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What began as little more than a glorified metronome has worked its way into bedroom studios and state-of-the-art recording facilities alike. A new book chronicles the history and influence of the drum machine in all its wood- and plastic-paneled glory.
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The musician born Marcos Garcia was known for years as a member of the Afrobeat ensemble Antibalas — but one day, he began tinkering with his daughter's Casio keyboard.
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After months of speculation, West's latest album reveals itself as a trim, 10-song, 40-minute effort that's heavy on electronic and industrial influences. It's also another piece of the puzzle to one of pop music's most compelling — and frustrating — figures.