feelings

swelt

Claw Fingered

INVESDFGPPPSPE®

Grow Old With Me (Don't Let Go)

The first single from milo's debut LP "a toothpaste suburb", available September 23rd 2014 via HELLFYRE CLUB. Pre-order to get this song now. Seriously, it's the kid's first FULL LENGTH ALBUM!!

- Pre-order the album on Bandcamp: https://hellfyreclub.bandcamp.com/album/a-toothpaste-suburb
- Pre-order the album on iTunes: https://itunes.apple.com/us/album/a-toothpaste-suburb/id906568717

milo "you are go(o)d to me"
_____________________
Produced by Tastenothing
Mixed by Riley Lake and milo
Mastered by Daddy Kev
Artwork by Chris Carfolite

#HELLFYRE

milo - you are go(o)d to me

riley lake and i came back after 500 days of bummers with a little something to warm u up. 

what's for supper?
a remix of lorde's tennis courts song which is mighty. 

ol riley lake (https://soundcloud.com/viette-2) on the whispy ethereals as well. 

all glory due to Hellfyre 

@HellfyreClub
@RileyLakeMusic
@yomilo

the lorde's prayer in a lower fidelity

Our new track “Knees On The Ground” might benefit from an explanation. This is the most unguarded I ever intend to be when writing about Clipping.

What had happened was this: our very brief UK/Europe trip got called-off the day before we were supposed to get on a plane to London. Since we didn’t have any other plans, we met up in the studio with an idea to crank out a new track. On our list of songs to finish was one particular piece aimed directly at the club (or, at least, our twisted idea of what clubs should play). But none of us were in the mood for it. Each of us had spent the previous several days following the news of protests in Ferguson, MO. It was the only thing on our minds. We couldn’t bring ourselves to think about anything else, so we decided to direct our fear, our revulsion, our heartbreak into a new track.

The problem was that we’d defined our band — in interviews and to each other — as decidedly-not-an-activist-project. Diggs’s lyrics have been criticized for seeming apolitical, at least in comparison to what many listeners (perhaps rightly) expect to hear from an ‘experimental’ rap group. I have many times said (perhaps naïvely) that our politics lie in our structures, in our formal engagement with the rap genre. We love its conventions, its clichés, and we’re not above them. We see our participation in rap as something resembling an old punk flyer — an out-of-context collage of charged images with an fractured, contradictory, multiple point-of-view. I hope that our more dedicated listeners hear this and understand that we’re not interested in spoon-feeding them a position. At the same time, I’ve always assumed that they pretty much agree with us on most issues anyway. (We have yet to meet the misogynist, homophobic, white supremacist Clipping fan with an MBA and an NRA membership).

So what do we do when all we can think about, all we can feel, is a profound injustice — yet another young unarmed person of color is murdered by a police officer? How does a band, which overtly rejects affect and the emotions, address something that is, for its authors, a deeply felt, deeply affecting topic? Well, we don’t entirely know. But the fact is: there’s more truth in Diggs’s lyrics than we generally let on. “Inside Out” describes a drive-by shooting in Oakland, “Chain” is about three stick-ups. They are presented with a lot of detail and specificity (perhaps the result of personal experience). But at the same time, they represent archetypal scenarios within rap music. One trope we had yet to explore as Clipping was the anti-police rap — the lineage of Public Enemy, NWA and Paris, straight through The Coup, and all the way into the ‘stop snitching’ panic of the early 2000s. “Knees On The Ground” is a paradigmatic white-cop-kills-an-unarmed-black-kid-and-gets-away-with-it tale — a story that happens all the fucking time in the US. What we have learned — from our first hand experience in Oakland in 2009, and from the media coverage of Ferguson in 2014 — is that the second part of this story involves a police response better suited to a war zone than to an American city. Cops think they’re playing Call Of Duty when they’re supposed to be part of a community. If Ferguson were in Iraq, Obama would have sent in an airstrike already.

This is the least obtuse Diggs’s lyrics will ever get. We’re embarrassed by the timeliness of this track. We do not intend to capitalize on what is, undoubtedly, a terrible tragedy. But journalists make think-pieces and we make songs. Writers write what they know, and this is what we know right fucking now.

— William Hutson, Clipping.

Knees On The Ground

Its an honor to do a remix for them. 
This one's different.

Buy III by BADBADNOTGOOD on itunes https://itunes.apple.com/ca/album/iii/id855303931


BADBADNOTGOOD - Kaleidoscope (Kaytranada's Flip)

king cookie faced (FOR HELLFYRE) 

Driver
Open Mike Eagle
milo
Terra Lopez(Sister Crayon)on the chorus

produced/re-worked by greyhat

intro voice &
pic by Joëlle Lê

buy the sinlge: http://perfect-hair.bandcamp.com/track/king-cookie-faced-for-hellfyre-greyhat-remix-feat-milo-and-open-mike-eagle

Busdriver - king cookie face (FOR HELLFYRE) (greyhat rmx)w/Open Mike Eagle, milo and Terra Lopez

We met Schwarz at an early Clipping show in a terrible bar in Fullerton, California. He was DJing gangster rap and Baltimore club tracks between sets and he was pretty much the only artist there who the drunken locals didn't totally hate. Since then we've been following the man's career as he gets more and more (utterly-deserved) attention. Bmore is one of Clipping's favorite regional sub-genres so we reached out to Schwarz for a remix, and he delivered this incredible take on "Tonight." Hope it gets some play in the clubs. Maybe drunken locals at shitty dive bars across the US won't hate it.

Tonight (Schwarz Club Remx)

1981...

Magnifique

Cream on Chrome

download

tsing tao (beat)

edit celebrating release of M.E.S.H. SHARE THE BLAME 12" out nov 16 

http://soundcloud.com/m-e-s-h check emmmmm 

feelings

wâpâyôs in ᐊᒥᐢᑿᒌ+