March 18th, 2010
The editorial team unanimously decided that no one wanted to read Jeff’s long-winded rambles for a third consecutive year. Instead, we turned to special Passion of the Weiss SXSW correspondent, Hannibal Moncrief, the lead singer/guitarist/theremin player for death metal power trio, Infinite Transgression. As payment, he will be receiving 32 cans of PBR, a two month supply of Turkey Jerky, and a slightly unused Racquetball Racket.
Call me Hannibal Motherfucking Moncrief. It’s about time the Passion turned over its space to some real hardcore musicians, not the anaconda pants-rap and laptop bloopity blah that passes for musical erudition in this space. Yeah, that’s right, I used “erudition.” Don’t be fooled thinking that just because Hannibal Moncrief plays epic and massively virile guitar riffs that it doesn’t mean that he didn’t attend Bates on a 20 percent music scholarship. Shit was cold, but I’ve got chops and I intend to use them over the next week. Then again, those 187 of you that already legally copped Infinite Transgression’s debut, Barnacle, our 115 minute nautical ode to Ulysses, ought to know that we make those hipster metal bands look straight BOJO. Mastodong, you know you can’t see us and even if you could, you’d still know where the fuck to find Hannibal Moncrief — in the highest realm of musical creativity making sweet love to his guitar, several naked skeezers with tatted Interpol lyrics from a phase they had in ‘03, and possibly a four day-old baguette.
We’re here in Austin for SXSW to play 32 shows in 3 days. Yeah, that might sound intense, but we’ve got a plan. Each show will be one minute shorter than the previous one, until we conclude the festival with a 1-minute set Saturday night that could make even Dick Cheney cry tears of vodka due to its sonic beauty and virtuosity. You also might ask yourself, what would a metal power trio be doing down in Austin, the city that never shaves? But we’re not your grandmother’s metal band. Granted, we’re out to prove to the rest of these poseurs in pork pie hats and lanyards that there’s a place for musicians who know how to play more than two chords. But we’re also trying to get famous. Where else can you perform in front of hundreds of journalists, radio personalities, and John Norris, all of them eating Zune-sponsored tacos and drinking Margaritas sponsored by Hornitas. Shit is wicked on these mean streets. Rest assured, by the end of the week, our parents will be no longer be paying the rent on our rehearsal space.
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Posted in Rubstep, Hannibal Moncrief, SXSW | 2 Comments »
March 17th, 2010
Information remains scarce, but presumably Guru remains in critical condition. I’ll spare the reigning “Fuck Solar” sentiment because speculating on their relationship is tasteless and probably pointless. Though admittedly, calling another man “Lord” is arguably the only thing stranger than calling him “Daddy.” At this point, all we can do is hope that that Gifted Unlimited Rhymes Universal recovers swiftly and his family is allowed to monitor his progress/visit regularly. Judging from the e-mails I get, I suspect that at least a quarter of this site’s readership was entering the world when Gangstarr was stepping into the arena. Thus, their knowledge of one of the greatest duos of all-time is limited to hearsay. Thankfully, Matthew Africa can remedy this with his stellar Gangstarr greatest hits mix. For those who heard his earlier DJ Quik mix, you know that this is essential listening. A tracklist and message from Matthew about the mix below — credit is due.
Download:
MP3: Matthew Africa - Gangstarr Mix (One MP3)
ZIP: Matthew Africa - Gangstarr Mix (Left-Click, As Individual Tracks)
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Posted in Gangstarr | 1 Comment »
March 17th, 2010
Clearly, Men Without Hats had the blueprint for Goodie Mobb’s “People Don’t Dance No Mo.” Granted, Cee-Lo has been known to sport a witch’s hat like he attended Necromancy school, but observe the clown/jesters, the big hair, the makeup. A coincidence? I think not. Pity the hat-less males — a one-hit wonder nonpareil, destined to be forever conflated with Men At Work. Until writing this post, I’d always thought they were from Australia, but according to the world’s most accurate encyclopedia, they’re Canadian — leaving Men at Work and Midnight Oil as the only two 80s Aussie outfits that non music nerds know about (all apologies to the great Go-Betweens).
This May, Stones Throw is releasing J Dilla’s Donut Shop, a partnership with Serato that includes six unreleased tracks, a pair of Donut Slipmats, and two sides with Serato Control Tone. The union is fitting considering every amateur DJ over the last four years has attempted to emulate Jay Dee via ham-handed computer cuts and a hard drive full of 128 KBPS soul samples. Dilla’s cover of “Safety Dance” proves what most ignored — the fact that calling him a “hip hop dude” was a stifling term. Like all the great producers, his tastes were eclectic and as much forged on Kraftwerk and Detroit techno, as they were on Pete Rock and Primo, and novelty 80s pop filtering through the airwaves. There were no arbitrary boundaries. “Keeping it real” just meant keeping it good. Always ahead of his time, “Safety Dance” is the sort of thing a contemporary blog rapper would do in a feeble (but likely successful) attempt to score a gimmick hit. Of course, no double zero could ever punch drums like that and as always, Dilla found the groove that Men Without Hats probably never knew they had. 80s pop re-invented with a crisp fitted.
Download:
MP3: J Dilla - “Safety Dance”
Posted in J Dilla | 1 Comment »
March 17th, 2010
A quick check reveals that it’s been 213 days since I last wrote about Frank Zappa for this website, which is 212 days too long by my count. Yours may vary, but while Jeff is basking in the sea of facial hair, ironic t-shirts and lo-fi bands that is SXSW, I’m instituting a strict Pro-Mothers of Invention policy around here and that’s that. “Peaches in Regalia” which opens Hot Rats, perhaps the man’s greatest work, is low hanging fruit for a busy music-writer on deadline: the track practically praises itself.
An epic virtuoso piece combining Stravinsky keyboard runs, prog-rock drumming and more melodies than Kevin Barnes on adderall, its an easy entry-point (II) for Zappa neophytes and an obvious favorite for hardcore fans. It’s fun too: the song easily switches from orchestral pomp to faux-Chinatown cheese before exploding into a euphoric blast of horns that would serve as the perfect hook for just about any other band. More than the jokey tape pieces or the second-grade toilet humor, it’s this combination of compositional mastery and pure rock-n-roll fun that keep the man’s music in College kids’ playlists everywhere. Well, that and the SXSW worth facial hair.
Fun fact: legendary recluse and all around musical enigma Shuggie Otis played bass on it too.
Download:
MP3: Frank Zappa & The Mothers of Invention - Peaches in Regalia
Posted in Frank Zappa, Sach O | 2 Comments »
March 16th, 2010
Those curious about context or my thoughts on “A Sufi and a Killer” ought to head to Pop and Hiss. This is for completists and those inordinately interested about the man behind one of the year’s best debuts.
I read somewhere that with you were really into baseball growing up. Were you pretty good?
Yup, I grew up in San Diego. I was born out here and pretty much always into baseball through my youth, until I started smoking weed and discovered rap music.
What position did you play?
I was a center fielder and lead off hitter. I pitched too.
You a lefty?
Nah, I was right handed. I was the fastest man on any field straight up. My first year playing I batted eighth and would get up to bat and everybody would immediately grab their gloves to go out to the field because I’d strike out everytime. But after I hit my first single, the whole shit changed. It was symbolic for my life and how I approach music. I struck out for a full year and then the last two games I learned to hit the ball and for the next year, I’d be constantly getting on base and stealing second every single time stole second the next year
You play in high school?
I played ball until the 9th grade, then I started smoking weed man and that shit changed everything. Once I heard Bob Marley, it was all over, and then they went on strike and it was really done.
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Posted in Gonjasufi | 1 Comment »
March 15th, 2010
Run through the class of ‘88. Rakim’s last album was so sleep inducing you’d have thought the 18th letter stood for Rohypnol. No one’s checked for a Public Enemy song since they sampled Buffalo Springfield, and Chuck D writes the words “ex-Air America host” on his resume. Kane was last seen in velour, wandering around Bed-Sty in pursuit of a girl in Juicy Sweatpants, while KRS-One still believes the only “real” definition of hip-hop involves B-Boys and Bambaataa. Kool G Rap still murders almost every verse, but hasn’t had a new idea since people wore Conart. Which leaves the Grand Ruler the last one continuing to innovate out of his first ballot HOF peers. Nor should you be surprised, Ricky Walters was always advanced — the guy who had swag when it was called “staying fly.” You can trace a straight line from the chain worship of your favorite swag rapper du jour to Uncle Ricky, who wore a crown when T.I. wasn’t allowed to walk the streets of Bankhead without holding his mother’s hand. And Snoop and Mos Def’s cover choices and styles said more about Rick’s influence than any heavy-handed VH1 Hip Hop Honors could tell you.
By and large, the rappers that have achieved longevity in the rap game are the storytellers. Narratives are timeless and 25 years after “La-Di-Da-Di” few if any have ever topped the eye patched one’s ability to craft clever and occasionally poignant tales. See last year’s appearance on “The Auditorium,” where Rick inhabits the persona of an American soldier assailed by a young Iraqi child. The cameo was one of four Ricky did last year, with Raekwon and even Asher Roth aware that even at 45, no one writes a 16 like the ravishing one (no Rude).
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Posted in Slick Rick | 9 Comments »
March 15th, 2010
With roots stretching back from first generation Jungle through Grime, Dubstep and now Future-Garage, it’s safe to say that Montreal Producer/DJ Intoccabile doesn’t need my cosign, not that that’ll stop me. Operating as the head of Fyutchaflex Recordings since 2001, all while playing countless gigs throughout the city, he’s recently moved towards a deep dub-techno approach that keeps dubstep’s heavyweight bass while moving things uptempo. Acting as an appetizer for his forthcoming album, Future Garage Volume 1 neatly packs his music’s appeal into one 26 minute mix. Smoothly blending his recent production into a continuous track, the release is full of dark but danceable dub music that’s high on atmospheric soundscapes and low on dance-music cliches. Shotgun shells become percussion, crystal clear vocals disappear behind walls of static or fade out and heavy bass wobble fights it out with swinging drums. Though it’s terrible music to guido fist pump to, it does lend itself well to late night blunt sessions, physical exercise and “eyes down” dance nights in dark rooms. Special attention to the vocal track coming in at 11 minutes: T-Pain this ain’t.
If you ask me though, the best thing about this mix is how it keeps things dark all without pandering to its audience. For all the talk about “neon” last year, it’s good to know that there are still producers making idiosyncratic music without feeling the need to throw in a huge melody-line for trendiness’ sake. Though certainly inspired by the Garage revival currently going on in England, there’s nothing imitation brand here: you’d need to survive a Montreal winter to make this. Recommended for fans of Burial, Hyperdub and the dark and heavy side of the Four Tet/Pantha albums that have been showcased here.
Download
MP3: Intoccabile - Future Garage Volume 1 (left click)
Posted in Montreal, Garage, Dubstep, Sach O | No Comments »
March 13th, 2010
In lieu of being able to actually enjoy the Airliner’s lax weed policy and jumbo-sized Fat Tires, the Low End podcasts offer an ideal window into what makes the weekly so unique. But until now, they’ve neglected to feature Nocando as anything more than a host. Wisely, Daddy Kev enlists his Alpha Pup protege and fellow resident to decimate an array of beats ranging from the Joker’s “Snake Eater” and Flying Lotus’s remix of “I Feel Like Dying,” to “All the Way Turnt Up” and “Exhibit C.” Written and recorded in a single night, James McCall proves why he’s not only one of this city’s most underrated rappers, but also one of its best. Jay Rock and Nipsey Hussle may have the major label deals and XXL hype, but the vanguard of the third generation of Project Blowed shows and proves every week. I have yet to bring a single person who hasn’t turned to me and said, “that dude can really really rap.” Were you wary about dropping a Hamilton on Jimmy the Lock, the proof is in the Porter. Plus, Daddy Kev drops a typically blistering set, nicely averting any and all ill omens endemic to the 13th edition.
Download:
MP3: Low End Theory Podcast XIII - Daddy Kev and Nocando
Posted in Daddy Kev, Nocando, Alpha Pup, Low End Theory | 2 Comments »
March 12th, 2010
Sach O feels compelled to defend beat music with an undeserved bad rep and an aggressive streak. Wonder why.
In his excellent new piece for Don’t Panic, Joe Muggs contends that Dubstep’s impact has changed the game for every genre it’s come in contact with from D&B to Hip-Hop to Grime to House and Techno. He makes a strong case: our own coverage of the genre increased exponentially once it started infecting LA’s Dilla-inspired beats. Ditto for IDM aficionados once the music started influencing their own core interests. That an underdog mutt of a genre would organically develop around a dedicated community and eventually blow up isn’t surprising (or shouldn’t be). No, the odd thing about all of this is that while everybody wants a piece of Dubstep, many people seem vaguely uncomfortable with the actual genre and the listeners that love it.
“Mocked as boring music for boys & bloggers” reads the aforementioned story’s byline. “Dubstep gets a bad rep, mostly due to its popularity,” writes Tom Lea at Fact. “To describe Dubstep as all good would be misleading,” wrote veteran chronicler Martin “Blackdown” Clarke way back in 2007. And that’s from eminent writers who LOVE the music and have been around it from the beginning. From its troubled birth (too dark), to its unexpected success (too aggressive), there’s always been someone with something bad to say about it. Or rather, there’s always someone with something bad to say about its audience. Unsophisticated. Ravy. Not enough girls*. Once the figurative boogieman of Grime lost its danger; the sullen, aggressive, dubstep raver havin’ it became an ideal target: so unsophisticated, so damn ladish…why can’t they listen to something proper and take off those damn hoodies!
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Posted in Dubstep, Sach O | 10 Comments »
March 11th, 2010
Top 5 thoughts while watching the above two videos
1. How in the world did Stress’ director convince Monch and Prince Po to shoot a scene shirtless and a snow field? Lung-collapsing pneumonia.
2. Q-Tip’s mustache in Stressed Out: ill advised or a bad idea? Seriously though, someone needs to document the trend of razor-thin facial hair on Queens rappers circa 96-97. Nas and Nore are repeat offenders.
3. How slamming was Faith Evans? She makes Rhianna look like Kelis here.
4. Stress samples the bass line from the Beatles’ Come Together. Future Prince Po collaborator Dangermouse sampled The Beatles’ White album years later to remix Jay-Z’s Black album. Jay-Z is a member of the illuminati who was in State Property with Tim House who was featured in “In the Cut” with…Kevin Bacon.
5. Much love to Phife, but his rudebwoy interruption in the Stressed Out video really takes away from the song. Save it for the remix son.
The above are best enjoyed with East-Coast weather, a bad work situation and a pound of cess.
Posted in Old School | 4 Comments »
