Sunday, March 23, 2008

Wax Poetics Magazine Issue 27: March 2008

WAX POETICS - Wax Poetics Magazine Issue 27: March 2008 (feat Grandmaster Flash & The Furious Five, Eddie Harris, Tom Terrel, Brownout, Hot 8 Brass Band, Camp Lo, Build An Ark, Chuck Brown, Jazz Icons + more) [Buy Here] [Waxpoetics]

Maestro - Larry Levan & early DJ culture

Thursday, March 13, 2008

PERCEE P - Perseverance (The Remix)

PERCEE P - Perseverance (The Remix) (Stones Throw) Comentários: PERCEE P came up in the Patterson Houses Projects of the Bronx, NY. He started hearing the precursors of hip-hop out of his windows before he was in kindergarten, around 1973. By ten, Percee had a mic in his hand. He debuted in 1988 with homeboy D-Nique on “Let The Homicides Begin” (Gothan City Records, 12” single). A few years later, his freestyles on the hugely influential Stretch & Bobbito radio show on WKCR parlayed into what should have been Percee's big major label breakthrough, 1992's “Lung Collapsing Lyrics” (Atlantic/Big Beat, 12” single), the now legendary Fast Rap masterpiece. Though the record established reputation as one of the best rappers in the field, his break never came. For most of the rest of the 1990s Percee P laid low, working in retail and as a messenger, dropping only the occasional indie single and a few guest verses. Percee wasn't gung-ho about the rap game again until the late '90s, when he truly went for self and began his own guerilla distribution campaign, selling his CDs face-to-face to patrons outside of New York's Fat Beats Records, establishing himself as something of a local landmark. Percee's pavement pounding around Fat Beats did more than keep him fed - it introduced him to a new generation of hip-hop collaborators, cats like Aesop Rock, Jedi Mind Tricks, C-Rayz Walz, Wildchild, Edan and Jurassic 5 among others. All of these emerging underground artists sought contributions from Percee P - not only because they considered him a bona fide legend and Fast Rap pioneer, but also because they regarded him as a peer, hustling his trade with the same hunger as them. Percee met his future label execs out on the street as he sold them CDs. Stones Throw's Peanut Butter Wolf and Egon met with Percee during a series of NYC visits, and, impressed by his constantly evolving lyricism, brought him to Los Angeles, leading to appearances on albums by Wildchild and Jaylib in 2003. They signed him to an album deal shortly thereafter. Percee P's debut on Stones Throw has been anticipated for 3 years, through selective guest appearances, the Chrome Children world tour and a handful of singles. Embodying the term Perseverance in both name and spirit, Percee P followed the grass roots path throughout his career. nota do editor [Para Ouvir/Samples]

GUILTY SIMPSON - Footwork Size 12

GUILTY SIMPSON - Footwork Size 12 (Stones Throw) Comentários: Guilty Simpson was born in Detroit, the son and grandson of the family’s performing musicians in his father and grandfather. At age four, Simpson and his mother began traveling with an aunt in the military, living in California and Birmingham, Alabama, before settling back in the Motor City at 15. Big Daddy Kane, N.W.A, and Scarface were all major influences, but it was Queens-bred street bard Kool G Rap who made the biggest impression. “That’s my crème de la crème rapper right there,” says Simpson, his own presence among the latest in a rich lineage of heavy-handed MCs. For years Guilty Simpson has been a rock on the Detroit hip-hop circuit alongside those such as J Dilla, Slum Village, Eminem (whom Guilty still calls “Marshall”) & D12, Obie Trice, Proof, Phat Kat and Black Milk. A member of the Almighty Dreadnaughtz crew, Guilty emerged as a sound to be reckoned with after linking with producer Dilla in 2001. In the midst of recording an album’s worth of material on the MC – including the recently released duet “Take Notice” off of Dilla’s heralded Ruff Draft album – Dilla gave Simpson his first appearance on disc with “Strapped” (from 2003’s Jaylib album). 2006 marked his allegiance with Stones Throw Records – at Dilla’s behest – and appearances on both Chrome Children installments and subsequent tour. It’s taken years, but finally Simpson’s full-length solo debut, Ode to the Ghetto, brings him worldwide, chronicling a life led in the rough-hewn city that birthed him. Featuring an all-star cast of producers normally reserved for those signed to six-figure deals (J Dilla, Madlib, Denaun Porter of D-12), Ode to the Ghetto marks an evolution, incorporating a more topical and thought-provoking persona in addition to the extra-savage braggadocio Simpson is known for. “I want to make the consumer care about the music again,” the 31-year-old explains. Guilty’s testosterone-charged, inner city themes possess of a sense of humor at times so side-splitting, it only proves how serious he really is. This rapper was raised on the field of battle and he has more to say than just how fresh he is and how fresh “they” are not. As a matter of fact, he’s found that he’s here to remind the hip-hop world – currently captivated with that manufactured freshness – that life in the ghetto is real. The evidence shows excessive use of double entendres, too much flavor on public grounds, microphone assault, and verbal harassment of an officer of the law. On the counts of freshness AND realness: The Court of Hip-Hop finds Mr. Simpson to be Guilty. nota do editor [Para Ouvir/Samples 1] [2]

CONTI, Jackson - Upa Neguinho

CONTI, Jackson - Upa Neguinho (Kindred Spirits Holland) Comentários: Limited 7inch taken from the Sujinho album which has been recorded by Madlib & Mamao of Azymuth... a heavy hook up! 2 great covers of the classic Brasil standards, Upa Neguinho + Casa Forte... Tip! in rushhour [Para Ouvir/Samples1] [2]

Tuesday, March 11, 2008

TAKE - The Dirty Decibels of Thomas Two Thousand

TAKE - The Dirty Decibels of Thomas Two Thousand (Eat Concrete Holland) Comentários: TAKE aka Thomas Wilson is a composer who continues to push the boundaries of instrumental Hip Hop music into new directions. He has long been at the center of an ever growing scene of talented musicians, producers and dj's in the Los Angeles area. As an active member of the Dublab family and co-founder of the legendary beat showcase night "Sketchbook", Take has been fortunate enough to share the stage with such artists as Prefuse 73, Mos Def, Daedelus, Caural, Nobody, Ammon Contact, Scienz of Life, Flying Lotus, Ta'raach, Edit and more. In the last several years, he has composed and produced multiple 12" EP's and remixes for labels such as ButterMilk, Poobah Records, Astro Lab, Eat Concrete and unleashed his much-admired debut full length player called "Earthtones & Concrete" last year. Eat Concrete Records is very proud to announce that "The Dirty Decibels..." is preceding a full length album by Take coming out later this year (2008). "Take brings to the stage his alter ego Thomas 2000. "The Dirty Decibels of Thomas Two Thousand" is a fat eight tracked 12" EP featuring refined, detailed artwork by Kutmah (Dublab) and an unbelievable remix by Dimlite (Sonar Kolletiv). Take gets heavier on the beats, vocals and sampling and strikes a less serious tone with his Thomas 2000 alter ego. "The Dirty Decibels of Thomas Two Thousand" is a laid back and fun record. He has one of the liveliest sounds in new leftfield hiphop and experimental beats. Whether it's like on his album "Earthtones & Concrete", cohesive and composed, or in the more lighthearted manner of this Thomas 2000, his music always seems to come together in the most natural way... Take featured on "Twin Earth Atlantic", Eat Concrete's second full length released earlier this year and ever since there's been talk of further collaboration. We're happy to announce that "The Dirty Decibels..." is preceding a full length by Take coming out later this year (2008). " press release. "This is serious quality material, dope!. If You are obsessed by experimental hip hop artists like Jay Scarlett, Tom Trago, Rednose Distrikt... this one is for you, hot!" electriklife. Visit »» [Eat Myspace] [Buy Here] The Eat Concrete cool guys told me to put these tracks available for download on the blog enjoy it! A editora Eat Concrete entrou em contacto comigo e pediu-me para publicitar o seu último lançamento, e disponibilizou três faixas para sacar à borlix. [TAKE - Fall In Love Again] [TAKE - Make Believe] [TAKE - After Words]

Monday, March 10, 2008

BADU, Erykah - New Amerykah Part One (4th World War)

BADU, Erykah - New Amerykah Part One (4th World War) (Universal Mowtown) Comentários: What's the freakquency, Erykah? The five years since her last album, Worldwide Underground (make that last EP, so more like eight years since her last proper album), make clear that her release frequency lags about as far behind as you could expect from a one-woman jam band at the forefront of a head collective. But the freakquency? That's pitched as high as a kite, now more than ever. Badu's intense New AmErykah: Part One (4th World War), the opening salvo of a promised two-disc series (three if you count a live album Universal is promising in late 2008), is as sonically ambitious as anything she's done to date. It's sort of the flip to Worldwide Underground in that both albums are so diffuse as to seem careless and haphazard to some listeners. But whereas the earlier album maintained a laidback, even keel (held together under the influence of the Mizell brothers), New AmErykah is some cracked, urgent, just plain weird boho avant shit. Worldwide Underground was Parliament. New AmErykah is Funkadelic. Assisted by producers Madlib, 9th Wonder, Mike "Chav" Chavarria, and posthumously, J Dilla, the album's very existence as an incomplete piece of a larger project is, at least for the next few months, a brazen continuation of Badu's "rough draft" ethos, which first started to really emerge with Mama's Gun and the conflicting track lists and unfinished lyrics in the liner notes. Not unlike Mary J. Blige, Badu the vocalist exudes so much confidence and authority that she almost seems to overemphasize her improvisational persona. Blige has her bipolar relapses, Badu has her pot-addled "What was I saying again?" disorganization. Both are, to a degree, calculated in an attempt to cultivate a measure of realness. In the same sense that I'd rather watch the stripped-down meta of recent Abbas Kiarostami films more than heart-to-heart interviews on Oprah, I'd much rather tolerate Badu's occasionally overbaked—yeah, I went there—mental mélange more than Blige recreating Julianne Moore's mirror monologue from Safe. And I say that as someone who just argued with one of this publication's other music critics that any lyrics more complicated than "Hey, yeah you, get out on the floor" had no place in dance music. Still, as is often the case, an artist who gives off the impression that they're working with less than a full deck usually gives listeners more to chew. Typically I'll listen to an album once or twice before I write a review. I'm sort of a strict sensualist when it comes to music, and hence perhaps put too much trust in the initial rush of pop music and much too little stock in lyrics. (Which, lets face it, is not exactly hard to do when the cultural standard rhymes "The boys they want to sex me" with "They say I'm really sexy.") I've listened to New AmErykah at least seven times already and still feel as though I'm jumping mama's gun by even writing about it before giving it another seven listens. Badu's spare, pointillist lyrics are almost constantly folded deep within dense, heavy arrangements. "The Cell," a ruthless, steely hard-bop sprint, contains a lot of menacing lyrics about "shots from the po-po" and a howling refrain of "We're not well," but the subtext barely registers against the wild, walking bassline and decaying guitar riff. Which, of course, actually makes the song all the more terrifying. And it's in good cohmpany with the boiling terror of "Twinkle" and the uncompromising spareness of the toy-xylophone ode to hip-hop "The Healer" (a track given a once-over with an auto-equalizer effect, just to make it sound even more like an unfinished demo). Lest the ominous elements run rampant enough to actually constitute a "statement," which would run counter to the album's real statement of not actually having one, Badu also throws in a few tracks that would've slotted easily into either Worldwide Underground ("Honey") or Mama's Gun (the flute-laden "Soldier," with its election year-friendly shout-outs to the troops "in Iraqi fields, sittin' on time to kill" and those in New Orleans "baptized when the levee broke"). While neither "Honey" nor "Soldier" are lazy retreads on Badu's part, is it any wonder their familiar elements inspired Motown to make those two songs (both far sunnier in isolation than the album as a whole) the album's first two singles? "What if there were no niggas, only master teachers?" is the rhetorical question asked of peer musicians multiple times in the sweeping, swangin' dirge "Master Teacher," which Badu answers with "I'm in the search of something new." It's not even the line itself that suggests Badu's mission to brush aside the staid quality of current R&B so much as her risky, raw vocal delivery. (The Billie Holiday voice is back, if only for a little while.) And it's in line with the willful disorganization of this and her last two albums. Polish and coherence equal consumer-ready product, to be used until played out and then shelved. In a matter not entirely original but still befitting an ex-neo-soul diva getting extra comfortable with her inner Yippie, she overlays a rerecorded excerpt of Peter Finch's "First you've got to get mad" monologue from Network. Somewhere Marlene Warfield's afro-puffed corporate radical Laureen Hobbs is listening to this record and nodding, "Right on." in slant magazine [Para Ouvir/Samples]

from Daedelus "Live At Low End Theory DVD"

from Daedelus "Live At Low End Theory DVD"

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