"Charlie Brown" isn't a new Ghostface Killah song (it was included on promos for 2006's Fishscale, though it didn't wind up on the album because of clearance issues) nor an especially good one, but it's still fun to hear the a cappella mangled by the L.A.-based duo Guns N Bombs, whose remixes we've heard before here on Forkcast. The collaboration is another entry in the Scion 12" series, which means that this track is brought to you by an automobile manufacturer. Crazy world we're living in.

MP3:> Ghostface Killah: "Charlie Brown" (Guns N Bombs Remix)
[from the Scion A/V Remix: Ghostface Killah; available from Scion]

Everyone including yours truly went nuts over Fleet Foxes last week at SXSW, marveling at just how well the Seattle band was able to bring the reverb-drenched harmonies of their records to life onstage. We see another side of the group on these three videos from Nashville's Hard to Find a Friend blog, which were shot as part of the site's "Backstage Sessions" series (in which-- yup-- they record bands singing in an intimate setting backstage); lead singer Robin Pecknold offers a solo take on the standard "Katie Cruel" as well as versions of stripped-down songs from the Sun Giant EP ("Innocent Son") and their forthcoming debut full-length ("Oliver James").

[the Sun Giant EP is out now; Fleet Foxes is due 06/03/08; both from Sub Pop]

For decades, space was the place. As humanity's knowledge of the cosmos expanded, so did what we could imagine about it. The 19th century's breathless speculation about non-existent Martian canals and the early 20th century's panic-inducing The War of the Worlds radio broadcast eventually gave way to Isaac Asimov, the late Arthur C. Clarke, Star Trek, and, of course, the U.S. space program. For now, however, despite President Bush's quickly forgotten attempt to revive it, manned space exploration has become a dead end. Within a year after the Viking probes found no evidence of life on Mars in 1975, both Apple Computers and Microsoft were founded. Since then, some of the biggest technological leaps have had to do with better connecting the people right here on Earth. I know, crazy!

After conquering a hip-hop scene divided between East Coast and West Coast by taking things down South on Southernplayalisticadillacmuzik, Outkast followed Andre 3000's weird muse (and the likes of Parliament-Funkadelic) to outer space and beyond on their subsequent run of classic albums. Maybe I'm making too much of this-- after all, Andre 3000 already brought us to "the center of the Earth" on Stankonia-- but "Royal Flush", a track thought to be the first single from Big Boi's upcoming Sir Luscious Left Foot solo album, splashes down with a sample from the Isley Brothers' "Voyage to Atlantis" and witty social commentary that topples contemporary rap's too-common divide between gangster clichés and "conscious" ones. Of course, these two have been doing that for years, but after the Cab Calloway-invoking mixed bag of Idlewild, the sophisticated funk and soulful sampled vocals of "Royal Flush" are a thrilling return to the here and now.

And that's a space Big Boi, Raekwon, and Andre explore brilliantly on three quick verses punctuated by the Isleys. Over a slightly jazzy bass line and rattling mid-1990s-style beats, Big Boi leads off first by speaking truth to power with an intelligence rare in politically-minded pop. Raekwon brings the conflict to the streets, battling with the "po-po" in a voice he knows damn well is "raspy." Andre, continuing a recent streak of sublime guest appearances that includes last year's "Int'l Player's Anthem", demolishes them all in a verse that turns its sights on rap itself, specifically the notion that a career dealing drugs is the #1 qualification for an MC. "Crack and I have a lot in common/ We both came up in the 80s and we keep the bass pumping," he explains. Just consider this online poker-- we've come a long way, baby.

[apparently from the forthcoming Sir Luscious Left Foot]

Writing about this song when it hit MySpace, Stephen M. Deusner said that the Danger Mouse-produced track "has the same blues-rock foundation as the Keys' past work; they've just constructed a more ornate building on top." The video, directed by Lance Bangs, uses the tune to soundtrack a game of Laser Tag. Even better, the Keys' website has a sweet video game with retro vector graphics so you can live inside your own version of the video. Looking forward to that Tron remake. (via Subterranean)

[from Attack & Release; due 04/01/08 on Nonesuch]

Like you knew that he would, Jamie Lidell feels a little a bit of good. And the IDMer gone funky soul boy is breaking out the scented oils and hand cymbals in an attempt to woo the unicorn woman of his dreams in the video for "A Little Bit of Feel Good", the single from his forthcoming Jim. We originally posted a version of this song from Lidell's new album before we knew the title, and back then it sounded more like "loose, vamping funk," as Mark Richardson put it. Now, just like Archie Bell & the Drells, Lidell's tightened things up a bit on the horn-fronted album version, although the funky guitar groove remains. The song sounds like a feel-good update of the tracks I loved from 2005's Multiply, and makes me wonder why those Gnarls Barkley guys didn't come up with something like this for their latest go round. The video, directed by Crackerfarm and Lidell, takes a deliciously dark turn. Unicorns are extinct, remember? That is, unless your hometown is in Wales.

[from Jim; due 04/28/08 in the UK and 04/29/09 in the U.S. on Warp] 

Writing about this song a short while back, Marc Hogan noted that it's "a drug song, and even for a moment a booze song, only it's about, like, details and emotions and stuff, not hyper-intertextual allusion-weaving or raspy humor. (Those two things are awesome, I know.) Backed by a boom-bap beat and laser-guided synth bass, plus some solitary keyboard plinks, Atmosphere's storytelling moves nicely from the bath water dripping 'like a painkiller to the 'goth nail polish' to the pupils like marbles hide behind eyelids.'" Director Zia Sunseri brings the song's story to life in the video by focusing on a hipster lesbian couple who appear to be in serious trouble. (via Subterranean)

[from When Life Gives You Lemons, Paint That Shit Gold; due 04/22/08 on Rhymesayers Entertainment]

In theory, there's nothing wrong with playing the influence game, except that it seems to lend itself to short-sightedness. Is the Strugglers' Randy Bickford really a big Will Oldham fan? Well, maybe, but it's just as likely that they're both Southern folkies with heads full of Skip James, as the venerable bluesman's hovering, cracked voice seems a starting point for both musicians. "The Latest Rights", the title track from the Strugglers forthcoming new LP, is a languid folk-rock tune with the sort of weary, slightly dragging rhythm Levon Helm taps out, lapsing and surging, flickering with piano. Its meanderings are paralleled in the lyrics, where Bickford interprets time as a winding trail where past and future vanish around bends. He has a soft touch with mysterious lyrics, and when he makes "the first long, straight way," and discovers that all he can see is "what [his] latest rights would be," there's plenty of room for interpretative play. The "problem" is stated more clearly earlier on: "I could never get back," goes the refrain, as Bickford treads the trail that only goes one way.

MP3:> The Strugglers: "Latest Rights"
[from Latest Rights; available now as a free download]
 

Ssion's cult of Ffun (as Andy Beta pointed out five years ago, it rhymes) needs converts. In this case, per the YouTube blurb, Cody Critcheloe's mom has got it goin' on. The Ssion frontman has a background in visual art as well as in music, and he brings both sets of skills to bear in the clip for Fool's Gold's "Ah Ma", which he wrote and directed. Critcheloe appears in the trashy, decadent, and mustachioed guise you might recognize from the Fool's Gold album cover, terrifying an androgynous "Ma" figure with a bleach-and-booze makeover. Then it's time for a cigarette and a skronky guitar solo over the rickety, reggae-flavored backing. "Now, I'm a mama's boy, but I still wanna cuss and fight," Critcheloe sneers as the video goes from black-and-white to somewhere over the rainbow. So there's nothing left to do but enjoy an Oedipal slow dance with mannish Mumsy. "That's what I do," the guy who brought you "Street Jizz" concludes. "That's who I am." I'm just a little disappointed he didn't name this "The Mother Load".

[from Fool's Gold; out now on Sleazetone]

Aw, sayonara, Robyn. Best known for collaborating with the Swedish pop pixie on her recent UK #1 (and Pitchfork's #57 single of 2006) "With Every Heartbeat", producer Andreas Kleerup has made like Bonnie "Prince" and found a new partner for his latest single. Replacing Robyn's lilting vocals, though not her blend of pathos and spunk, is fellow Swedish singer Titiyo, who happens to be the younger sister of trip-hop leading lady Neneh Cherry. Musically, Kleerup's "Longing for Lullabies" is more in keeping with "With Every Heartbeat" than his Shout Out Louds remix, though the verses add what sound like gentle acoustic-guitar strums to the pounding house beats and luxurious synth washes. As sequels go, it's no Empire Strikes Back, but Titiyo's unobtrusive presence is still way better than Hayden Christensen in pretty much everything except Shattered Glass.

As with the original "With Every Heartbeat" video, however, the visuals don't add much to the song. A shadow-shrouded Titiyo sings in a dark, club-like space as multi-colored lights pulsate and flash behind her. Then she emerges from the darkness and sings to us close-up. Images become blurrier as the video goes along, perhaps imitating the effects of a wild night out. At times there appear to be two silhouettes, one of which might belong to Kleerup. Fredrik Skogkvist and Marcus Engstrand direct.

[from the "Longing for Lullabies" single; due from on EMI]

Brazil gave us bossa nova, Tropicália, and baile funk, and there's a lot more where those came from-- as compilation after compilation after compilation continues to show. São Paulo's Télépathique have already toured in Europe, and now the duo are poised to bring their groove-based blend of electro-pop, rock, house, and baile funk to the U.S. with their new Love & Lust EP, on the way via Control Group. The best place to start isn't the English-language title track, though, but rather "Eu Gosto", which a cursory Internet search would suggest means "I like it." If not for the fact it's in Portuguese, a language I definitely don't speak, it'd be difficult to determine the origins of this solid uptempo dance-pop track. Opening with a robotic kick drum, a winding synth sound, and haunted-house creaks, the song soon adds post-punk guitar stabs and the matter-of-fact vocals of Mylene, who along with drummer, turntablist, and programmer Erico Theobaldo makes up Télépathique. Her words echo on both sides as live and electronic drums rise in intensity. The beats drop out during a clanging, alarm-like bridge. When Mylene's vocals return, they're even harder to understand.

MP3:> Télépathique: "Eu Gosto"

[from the Love & Lust EP; due on Control Group]

Hmm, I would've gone the John Hughes route. Or at least stuck to Black Kids' mis-under-estimable charms and done something lo-fi that people would forward to their friends. In any event, the indie-poppers from Jacksonville, Fla., now have a video for the new single version of "I'm Not Gonna Teach Your Boyfriend How to Dance With You", which originally appeared on last year's Best New Music-stamped Wizard of Ahhhs EP. A fanciful streak runs through Black Kids' songs, from their playful self-regard to the way they toy with sexuality (among siblings, no less!), and that's what this clip lavishly indulges, throwing together Enlightenment-era wigs, laser fights against a colorfully animated backdrop, and, um, actual cheerleaders doing the song's cheer-like shouts. The song itself, at least, remains pretty un-fuck-with-able.

[from the "I'm Not Gonna Teach Your Boyfriend How to Dance With You" single; due 04/07/08 on Almost Gold]