BEATS AND BLOOD

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noreply@blogger.com (Beatsandblood) — Thu, 25 Sep 2025 05:23:00 +0000

•JIHAD JERRY & THE EVILDOERS• •THE WAR ON STUPIDITY• •MINE IS NOT A HOLY WAR• •@Gvc3Casale DRIVES ARMY GIRLS WILD•

noreply@blogger.com (Beatsandblood) — Fri, 02 Jan 2015 23:56:00 +0000

According to trusted sources,
JIHAD JERRY is the product of an
Iranian barber + an Irish-American midwife.
Born in Tehran, winning an academic scholarship
to the University of North Pittsburgh
before the 1979 fundamentalist,
Ayatollah Khomeini led revolution.
MR. JIHAD translocated to Yonkers,
inspired by 9-11, JIHAD JERRY had a revelation.
The real enemy was human stupidity itself,
and not any religous sect.
JERRY JIHAD formed his band
THE EVILDOERS shortly after,
eventually releasing the full length album
'MINE IS NOT A HOLY WAR' in 2006.
If some of this music sounds DEVO-esque,
that would be because JIHAD JERRY is actually
GERALD V. CASALE,
Chief Strategist + Music Creator for DEVO.
SUPPORT THE WAR!

JIHAD JERRY AND THE EVILDOERS
MINE IS NOT A HOLY WAR (2006)

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•PAUL LAFFOLEY• •VISIONARY• •ARTIST• •TIME TRAVELER• •SAGE• •THE BOSTON CELL• •ARCHITECTONIC THOUGHTFORMS•

noreply@blogger.com (Beatsandblood) — Fri, 02 Jan 2015 05:00:00 +0000

My words would add absolutely nothing to Paul Laffoley's Art.
I will let this exceptional creature's Art
speak for itself.
For all things PAUL LAFFOLEY,
please visit the God's website and elevate.

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リアル @SubstanceMusic クリスマスラブデトロイトです世界最高のクリスマス·ミックス日本メリークリスマスベストエバークリスマスミックスラヴズ

noreply@blogger.com (Beatsandblood) — Fri, 19 Dec 2014 14:54:00 +0000

目と歯は休日を愛している。
クリスマス、クワンザ、 Chaunukah 、それをもたらす！

私は、友人や家族、食べること、飲むこと、そしてプレゼントに再接続するのが大好きです。

私は、トラフィック、ストレス、不必要な義務、そしてくだらないクリスマス音楽を嫌う。

幸いなことに、我々はもはや苦渋と陳腐な休日の曲に苦しむ必要はありません！

あなたはひどいクリスマス音楽の被害にあっ家族の休日のパーティーの刃で自分自身を見つける次回は、火傷これらの、ファンキーな新鮮な、ファインX -MASのアルバムの1ステレオとポップラッシュ。

あなたにあなたとあなたの家族オンスブレード夜会はすべてのアウトジャムに変わります感謝します。

リンクまたは下の埋め込みプレーヤーの後にアートの[閉じる]をクリックしてダウンロードしてください！

マゼルはTOV ！

メリーChrismixx ！ Mixcloudにクリス·リードによる（世界最高のクリスマス·ミックス）（ Musicofsubstance ）
世界最大のクリスマスMIXTAPE （ 2009 ）

Merry Chrismixx! (World's Greatest Christmas Mix) by Chris Read (Musicofsubstance) on Mixcloud

WORLD’S GREATEST CHRISTMAS MIXTAPE (2009)

パート1：クリス·リード - メリーChrismixx ！

1 - クリス·リード - メリーChrismixxイントロ（ナット·キング·コールを搭載、マイク·エップス、

Dolemite 、ゴーストフェイス、ディスコ4 、デレク·B ＆スウィートティー）

2 - ライオネル·ハンプトン＆ソニー·パーカー - ブギウギサンタクロース

3 - ジャクソン5 - サンタクロースが町にやってくる

4 - ペトゥラ·クラーク - 私の雪だるまは行きましたか？

5 - バリー·ゴードン - クリスマスにノッ'（ DJユナイトREFIX ）

6 - エルヴィス·プレスリー - ここにサンタクロースが来る

7 - エディ·マーフィ - ドゥードゥークリスマスギフト

8 - マイク·エップス - バッドサンタスキット

9 - デ·ラ·ソウル - ミリーはサンタでピストルを引っ張った

10 - ポール·マッカートニー - ワンダフルクリスマスタイム

11 - デ·ラ·ソウル - 単に

12 - Danimal ＆ Lakim - ビッグプー対サンタクロース

13 - キング日Dモエ - 都市のクリスマス

14 - マーガレット·ホワイティング - Misteltoeキスポルカ

15 - スクーピー - スクーピーラップ

16 - ダイアナ·ロス＆シュープリームス - マリアから生まれた

17 - スウィートティー - ジングルベル·ロックをしましょう

18 - 坂本龍一 - メリークリスマスミスターローレンス

19 - ジャクソン5 - ハウスオン·トップアップ

20 - ランDMC - ホリスのクリスマス

21 - クラレンス·カーター - バックドアサンタ

22 - カーティスブロー - クリスマスRappinは'

23 - スーパーJ - サンタのラップパーティー

24 - ジェームス·ブラウン - クリスマスの兆候

25 - ジェームス·ブラウン - ソウルフル·クリスマス

26 - ブーツィー·コリンズ - Winterfunkyland （抜粋）

27 - ボビーHelems - ジングルベルロック

28 - INT - クリスマス·マジック

29 - スティーヴィー·ワンダー - クリスマスは私に何を意味するのか

www.myspace.com / chrisreadsubstance

www.facebook.com / chrisreadsubstance

パート2 ：マークハイプ - ジングルベル'09

1 - ブロンディフィートFAB 5フレディ - クリスマスのスローダウン（抜粋）

2 - ミラーイメージ - デッキホールズ

3 - ダン·ザ· Automatorに - ジングルベルリミックス

4 - ビング·クロスビー - ハッピーホリデー（ウェリントンリミックス牛肉）

5 - チーチ＆チョン - サンタクロースと彼の昔の女性

6 - ソウルセインツオーケストラ - ソウルサンタゴットアバッグ

7 - Avernoハーヴェイ·バンド - のは、このクリスマスを一緒にそれを取得してみましょう

8 - エレクトリックジャングル - ファンキーファンキー·クリスマス

9 - ビリー·ジャクソン - 持っているハッピークリスマス

10 - コールドクルー - Rappinは'クリスマス（ Platurn編集）

11 - 牛の股関節レーベンスクロフト - あなたの言いワン、ミスターグリンチだ

12 - エルフエルフ＆独島イム - マイ·クリスマス鐘

13 - デレク· B - まったりサンタと

14 - ジュエルT - そり鐘ブリング·オン

15 - フィオナ·アップル - フロスティ雪だるま

16 - ソンドラバスキングリークラブとマーティンマル - Santafly

17 - ファンクマシン - ソウルサンタ

18 - J· D·マクドナルド - ブーガルーサンタクロース

19 - おしっこおしっこダイナマイト - Groovyのクリスマス＆ニューイヤー

20 - アルハート - ナッツジングルベル

21 - ミラーイメージ - Oタネンバウム

22 - ビリー月オーケストラ - 赤鼻のトナカイ

23 - ジェームス·ブラウン - メリークリスマス私はあなたを愛して

24 - マーティン·マル - サンタドープにないコップ·アウトか

25 - アーサキット - サンタベイビー

26 - トム·ウェイツ - ミネアポリスのフッカーからサイレント·ナイト/クリスマスカード

www.djhype.de

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†NO MORE WACK XMAS MUSIC† †WORLD'S GREATEST CHRISTMAS MIX† †FOR REAL† † @SubstanceMusic † †ALL HAIL CHRIS READ†

noreply@blogger.com (Beatsandblood) — Fri, 19 Dec 2014 14:46:00 +0000

Eyes and Teeth loves the holidays.

Christmas, Kwanzaa, Chaunukah, bring it on!

I love reconnecting with friends and family, eating, drinking, and presents.

I hate traffic, stress, unwanted obligations, and shitty Christmas music.

Fortunately, we don't have to suffer with
agonizing and banal holiday tunes any longer!

Next time you find yourself at a lame family holiday party
being victimized by terrible Christmas music,
bum rush the stereo and pop in one of these
funky, fresh, and fine X-mas albums.

Your relatives will thank you and your
once lame family soiree will turn into an all out jam.

Mazel tov!

Merry Chrismixx! (World's Greatest Christmas Mix)

PART 1: Chris Read – Merry Chrismixx!

1 – Chris Read – Merry Chrismixx Intro (Featuring Nat King Cole, Mike Epps,
Dolemite, Ghostface, Disco 4, Derek B & Sweet Tee)
2 - Lionel Hampton & Sonny Parker – Boogie Woogie Santa Claus
3 – Jackson 5 – Santa Claus Is Coming To Town
4 – Petula Clark – Where Did My Snowman Go?
5 – Barry Gordon – Nuttin’ For Christmas (DJ Unite Refix)
6 – Elvis Presley – Here Comes Santa Claus
7 – Eddie Murphy – Doo Doo Christmas Gifts
8 – Mike Epps – Bad Santa Skit
9 – De La Soul – Millie Pulled A Pistol On Santa
10 – Paul McCartney – Wonderful Christmastime
11 – De La Soul - Simply
12 – Danimal & Lakim – Big Pooh Vs. Santa Claus
13 – King Sun D Moet – Christmas In The City
14 – Margaret Whiting – Misteltoe Kiss Polka
15 – Scoopy – Scoopy Rap
16 – Diana Ross & The Supremes – Born Of Mary
17 – Sweet Tee – Let The Jingle Bells Rock
18 – Ryuichi Sakamoto – Merry Christmas Mr Lawrence
19 – Jackson 5 – Up On The House Top
20 – Run DMC – Christmas In Hollis
21 – Clarence Carter – Back Door Santa
22 – Kurtis Blow – Christmas Rappin’
23 – Super J – Santa’s Rap Party
24 – James Brown – Signs Of Christmas
25 – James Brown – Soulful Christmas
26 – Bootsy Collins – Winterfunkyland (Excerpt)
27 – Bobby Helems – Jingle Bell Rock
28 – INT – That Magic Of Christmas
29 – Stevie Wonder – What Christmas Means To Me
www.myspace.com/chrisreadsubstance
www.facebook.com/chrisreadsubstance

Part 2: Marc Hype – Jingle Bells ‘09

1 - Blondie ft. Fab 5 Freddie - Yuletide Throwdown (Excerpt)
2 - Mirror Image - Deck The Halls
3 - Dan The Automator - Jingle Bells Remixed
4 - Bing Crosby - Happy Holiday (Beef Wellington Remix)
5 - Cheech & Chong - Santa Claus And His Old Lady
6 - The Soul Saints Orchestra - Santa's Got A Bag Of Soul
7 - Harvey Averne Band - Let's Get It Together This Christmas
8 - Electric Jungle - Funky Funky Christmas
9 - Billy Jackson - Have A Happy Christmas
10 - Cold Crew - Rappin' Christmas (Platurn Edit)
11 - Thurl Ravenscroft - You're a Mean One, Mr Grinch
12 - Elf Elf & Dok-Im - My Christmas Bells
13 - Derek B - Chillin' With Santa
14 - Jewel T - Bring On The Sleigh Bells
15 - Fiona Apple - Frosty the Snowman
16 - Martin Mull with The Sondra Baskin Glee Club - Santafly
17 - Funk Machine - Soul Santa
18 - J.D. McDonald - Boogaloo Santa Claus
19 - Pee Pee Dynamite - Groovy Christmas & New Year
20 - Al Hirt - Nutty Jingle Bells
21 - Mirror Image - O Tannenbaum
22 - Billy May Orchestra - Rudolph The Red Nosed Reindeer
23 - James Brown - Merry Christmas I Love You
24 - Martin Mull - Santa Doesn't Cop Out On Dope
25 - Eartha Kitt - Santa Baby
26 - Tom Waits - Silent Night / A Christmas Card From A Hooker In Minneapolis
www.djhype.de

†HEY DITTO DITTO† †NIGHT ONE††OF THE LISA CARVER EXPERIENCE† †WITH PARALYZING STAGE FRIGHT† †@DittoDittoBooks†

noreply@blogger.com (Beatsandblood) — Sat, 13 Dec 2014 16:10:00 +0000

PLANET: EARTH
LOCATION: DITTO DITTO BOOKS
SECTOR: CORKTOWN [DETROIT]
ACTION: KITCHEN SHOW

I have always grappled with paralyzing stage fright.
Whether it was 2nd Grade Piano Recital MeltDown
or Wayne State College of Education
Brain Freeze Presentation, it happens.
The only way I have been able to deal with this
is via manic obsessive preparation,
or chemical counterparts.
Last night I had the seemingly
simple task of introducing Lisa Carver
to a small book store audience.
Because I am Matthew Jaworski,
this quickly turned into
the most monumental moment of my entire life.

I believe it was the fear of the unknown,
of not having a plan that was so terrifying.
I have never before had to face a crowd with no plan in place.
There was what seemed like 16 hours of uncomfortable silence.
Maybe it was only uncomfortable for me
but it seemed like an Eternity.
I suddenly found myself
talking to the audience.

I rambled on for a bit trying to get
the million thoughts
racing through my head out
in semi-comprehensible sentences
I remember telling everyone they were Wizards.

When I had a moment of self realization,
that I was actually (I think) successfully engaging the crowd
I kind of freaked out.
I dramatically fell to the ground,
coiling up inside my tortoise shell and hid.
I remained in that position for awhile.

I was hoping to be pummeled,
punished, violated.
None of that happened.

My shoes were removed, my glasses taken.
The polite little crowd did not abuse me,
injure me, or castigate me.
I think this was the biggest disappointment of all.
I am not sure what will happen tonight.

Maybe I will freeze before the introduction.
Maybe I will break down in the middle.
Maybe I will make it through.
Maybe Lisa will even do something.
None of us really know what will happen next.

The best thing one can do is BE THERE.
Maybe nothing will happen.
Maybe the most earth shatteringly
brain-drainingly megadelic vortex of
insanityexpereince of your entire life will take place.
BE THERE
TONIGHT
DESTROY COMPOUND
DETROIT
8:00PM

†LISA CRYSTAL CARVER† †LIVE IN DETROIT† †DITTODITTO† †DESTROY COMPOUND† †HOW TO NOT WRITE† †INTERVIEW† †SUCKDOG†

noreply@blogger.com (Beatsandblood) — Thu, 11 Dec 2014 23:42:00 +0000

LISA CRYSTAL CARVER is an icon.
Writer, Musician, Artist, Performance Artist, Philosopher.
Lisa embodies freedom, chasing your dreams, and a DIY never say die attitude.
In a World lacking strong female role models, Lisa stands tall.
Her candor, insight, and command of language
make her one this generations best,
yet least known writers.
If you have yet to step into Lisa's Universe,
a great starting point would be her biographical tome
'DRUGS ARE NICE'.

If you never got to see Lisa perform
with her ground breaking
Noise Art Punk terrorist team 'SUCKDOG',
you have a chance this Friday and Saturday
in Detroit to capture the legend.
If you are lucky, you may even be blessed with bodily fluids!

It is difficult to not sound like a fanatic when discussing Mz. Carver.
Lisa's Buddha-esque observations permeate her writings
witch intern permeate your skull.
It is virtually impossible to separate Lisa from her works.
I have yet to encounter a writer who
goes into their own Mind quite like Lisa.

Lisa shows us how to do the same.
Her latest book,
'HOW TO NOT WRITE'
is a rapid fire, potent capsule.
Full of assingments and exercises
that will unleash your creative Demons
no matter what format you create in.
Lisa is a whirling dervish of a tornado Star Child.
I was able to sneak her a few questions...
This interview may seem disjointed (much like our Universe),
as the first part took place in late June,
and the second part took place 2 days ago...

Your last book 'REACHING OUT WITH NO HANDS:RECONSIDERING YOKO ONO' was very well received.Were you surprised by the response of the critics?

LISA: No. Everyone likes Yoko Ono now I guess.
And critics seem to have always liked me
when they find me. They just don't usually find me.

Your band SUCKDOG was legendary.
It seems like those performances
really helped you find yourself.
Do you have aspirations to perform again?

LISA: I come out with around a book a year, and when I do book tours, I don't read. I do I guess psychodramas or classes or physical stuff. That's performance. It's just I'm making the audience do it instead of me and my bandmates. Also, I'll try anything. Last year I did standup comedy. The year before that I hosted an apocalypse dinner for futurists.

Would you ever consider releasing a
LISA CRYSTAL CARVER spoken word album?
LISA: Nope! I don't set much stock by the spoken word.

It seems like you would attract lots of stalkers. Is this the case?
LISA: Yes, I've always had a bunch. I think of them more as friends, though. I really like stalkers. They're passionate and energetic.

Would you go out on a date with me?
LISA: What would we do? Maybe you should ask to be my stalker instead.

What book(s) are you currently working on?
LISA: Two: 'HOW TO NOT WRITE' and 'BECOMING REAL'.

When can we expect your next book to be published and buyable?
LISA: By the first snowfall.

I have begun reading 'HOW TO NOT WRITE'
and it has already caused me to not
wear underwear, follow a stranger,
rove around aimlessly, and stay up all night.
You seem to really 'live writing'.
You mentioned you had wrote this book 10 years ago and forgot about it.
Did finishing 'HOW TO NOT WRITE' prompt memories of any other forgotten books you may have written?
LISA: No, I got no memories. Really. I am memoryless.

You have two upcoming shows in Detroit
Have you ever been to Detroit?
LISA: No. Unless I went and don’t remember it.

What can we expect this weekend?
LISA: There will be a puppet show and something
having something to do with noise
and moving in space.
My thing depends on what you do.

Will you have books for sale this weekend?
LISA: Yes.

Each chapter of 'HOW TO NOT WRITE' contains an assingment.
Some of these assingments really seem
like they could break down mental walls,
Remindsone of Robert Anton Wilson.
Have you yourself actually attempted each assingment?
LISA: Yes, of course. I love how you keep misspelling “assignment” as “assingment”—I think it’s better that way.

You initially rose to prominence with your
groundbreaking zine 'ROLLERDERBY'
and your chaotic band 'SUCKDOG'.
Do people still contact you about ROLLERDERBY & SUCKDOG?
LISA: Yes.

Do you have any advice for aspiring writers
out there who want to fully commit
and make their living from writing?

LISA: Yes. Learn to love beans, rice, and cheese. And bananas.

You Earthlings and Detroiters

have TWO chances to catch the iconic

LISA CRYSTAL CARVER

performing this weekend!

FRIDAY AT DITTODITTO BOOKS

SATURDAY AT THE DESTROY COMPOUND

Think about this.

These could be the only two shows

she does in Detroit EVER.

Don't fuck up and miss out.

Who knows...

I just may be beginning

my Performance Artist career as well...

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†THE PERSONIFICATION OF COCAINE† †MIAMI COKE FIEND RAPPER† †STITCHES† †BRICK IN YO FACE† THROWS CANE TO CROWD!

noreply@blogger.com (Beatsandblood) — Thu, 11 Dec 2014 10:08:00 +0000

(Thanks to KILO-T for this one. Respeckt.)
Are you obsessed with cocaine?
Do you like Hellraiser?
How about automatic weapons?
How about Soulless grandstanding?
How about this motherfucker will be dead in 5 years?
Universe...
Meet STITCHES.
He will put a 'Brick in yo Face'.
Like he will totally put a brick in your face.
Listen to the man.
He WILL 'PUT THAT BRICK IN YO FACE'
Betta have his money when he come to collect!
This clown LOVES sellin' blow.
Observe STITCHES as he brandishes automatic weapons.
He is so cool.

Now what you gonna do wit it?!

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†FROM @SonyPictures† †JODORSKY'S 'DUNE'† †BLU-RAY RELEASE† †NOW AVAILABLE† †NEW DOCUMENTARY† †@alejodorowsky†

noreply@blogger.com (Beatsandblood) — Wed, 10 Dec 2014 17:28:00 +0000

Finally!

There is now a documentary about
the greatest unmade film of all time.
JODOROWSKY'S DUNE .
NOW ON BLUE-RAY
Available NOW!

For those that don't know,
the amazing ALEJANDRO JODOROWSKY
was slated to design and direct
the penultimate version of FRANK HERBERT'S
1965 science fiction classic DUNE .
Jodorowsky was on board to direct,
having assembled a most incredible
cast and team that included:
Salvador Dali, Orson Welles, Mick Jagger,
David Carradine, H.R. Giger, and Dan O'Bannon.
With Pink Floyd doing the score and soundtrack!
The film was rumored to be nearly 20 hours.

Unsurprisingly, Hollywood declined.
This wonderful documentary is as close
as this Universe will ever come
to realizing such a grandiose cinematic vision.
Hopefully the next Universe will value Art,
and this mind blowing project will finally be green lit.

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†AMAZING ALBUM! † †HULK HOGAN & THE WRESTLING BOOT BAND ALBUM† † †BE A HULKAMANIAC!†

noreply@blogger.com (Beatsandblood) — Sun, 30 Nov 2014 16:54:00 +0000

This one is mind blowing. It is definitely not something one would listen to very often, but goddamn, if you ever need a laugh, this is pure gold.

It melts my brain that this even exists. Upon first life-changing listen, I guessed that this was some relic from the 80's. When I discovered that this came out in 1995, I started to punch myself in the face repeatedly.

There's not much I can say about this, the music speaks for itself.

Hulk Hogan is one of this generation's great poets.

Not only that, but he can also wail on the bass like a rock God.

His lyrical skills put him on the level of KRS, Rakim, Nas, or Biggie.

This album may make you cry. It may make you laugh.

It could very well change your life.

For example, check out 'I Wanna Be A Hulkamaniac'...

You just can't even begin to fuck with that.

I have a hard time believing the Wrestling Boot Band never won a Grammy Award. This really pissed Hulk Hogan as you can see in the totally tasteless picture below.

There is much more to explore here...

Listen at your own risk...

HULK HOGAN AND THE WRESTLING BOOT BAND - HULK RULES (1995)

1 Hulkster's In The House (2:29)
2 American Made (3:37)
3 Hulkster's Back (2:19)
4 Wrestling Boot Traveling Band (2:56)
5 Bad To The Bone (2:40)
6 I Want To Be A Hulkamaniac (2:56)
7 Beach Patrol (2:12)
8 Hulk's The One (2:58)
9 Hulkster In Heaven (4:40)
10 Hulk Rules (2:34)

†HAPPY TOOFSGIVING† †FROM THE ALMIGHTY @SWAGTOOF† †EVANS GATE EP† OUT OF BODY EXPERIENCE† †RYAN EVANS†

noreply@blogger.com (Beatsandblood) — Thu, 27 Nov 2014 23:38:00 +0000

As if you didn't have enough to be thankful for
Harlem's finest, SWAGTOOF
have blessed Us
with a Toofsgiving EP
EVAN'S GATE
a 9 track out-of-body experience
produced by Rising Star,
Underground Legend Ryan Evans
Grok.
EVANS GATE (EP) by SWAG TOOF

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† @ZELOOPERZ NEEDS HELP† †ONE OF 2014'S iLLEST† †RAP GAME GORDIE HOWE† †MURDER RAPS† | El Chupacabruh | †

noreply@blogger.com (Beatsandblood) — Thu, 27 Nov 2014 14:55:00 +0000

One needs to be mindful.
Never let egos and bullshit
interfere with the Greater Cause.
It is a shame to let pettiness
come between You and another person.
I just wrote that to remind myself.
I got butthurt about something,
I dissed ZelooperZ.
and boom.
One whole year of me not helping
spread the word about a true talent.
This is a lesson to me.
Fuck the dumb shit.
Let's push this forward.
Due to my negligence I slept on
ZelooperZ most recent album
The excellent #HELP.

#HELP is very impressive.
Z shows big growth from his previous
Opus COON IN THE ROOM
It is highly advised that you get with
ZELOOPERZ and HELP right now.
It's a #BruiserBrigade Product.
That's a guarantee
That it's gonna be dope as fuck.
All Hail ZELOOPERZ
All Hail the BRUISER BRIGADE
Watch out 2015!

SUPPORT THIS YOUNG BRUISER
GRAB #HELP ON iTUNES NOW!

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†ULTIMATE THANKSGIVING HORROR FILM†WORLD'S BEST PRO-JESUS ANTI-DRUG TURKEY MONSTER GORE FILM EVER MADE†BLOOD FREAK†

noreply@blogger.com (Beatsandblood) — Thu, 27 Nov 2014 11:09:00 +0000

Looking for the perfect post-Thanksgiving
dinner movie to view with family and fiends?

Look no further than Brad Grinter's
1972 classic 'Blood Freak'!

Don't believe me? Check the awesome trailer...

This has got to be world's best
pro-Jesus, anti-drug,
Turkey monster gore film ever made.

I don't want to give away too much,
but the plot basically centers around
hunky Vietnam vet Herschel
picking up a cute female hitchhiker
who takes him to a hippie drug party
where he is coaxed into smoking some marijuana.

This must be some super marijuana,
because he immediately finds himself
totally hooked on the devil weed.

He then proceeds to get a job
at this weird laboratory/turkey farm
, at which point he eats
an entire experimental drug laced turkey
which immediately turns him into
a mutant hybrid human Turkey monster
who is addicted to the blood of drug addicts.

Simply amazing.

Words cannot convey how awesome this film is.

You need to see it right now!
If curious, watch this amazing film right now via Youtube.

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†MAGICKAL DELICIOUS† †NEW ANIMATED†† PETUNIA-LIEBLING MacPUMPKIN† †VIDEO AUTUMN LEAVES† ART BY@ouroborosowl

noreply@blogger.com (Beatsandblood) — Wed, 26 Nov 2014 20:58:00 +0000

One of my favorite Humans (PETUNIA-LIEBLING MacPUMPKIN)
has just blesssed our ears and eyes with a beautiful video.
Animation + iLLustration courtesy of thee
illustrious JODIE LOWTHER.
This is my first encounter with JODIE LOWTHER's work.
Needless to say, I am VERY impressed.
The animation/illustration for AUTUMN LEAVES
is pitch perfect. Very impressive.
Please share this excellent video.
So many amazing Artists out there are under appreciated.

PETUNIA is creating quite a body of work around her
excellent album FISH DRIVE EDSELS.
This is the seventh (!) video.
Each video unique and awesome.
Please spread the word about this
True Artist. Support is appreciated.
Stop by ELECTRIC PHANTOM and grab a CD.
I bought one and it came with surprises.
Including stickers!
Highly recommended.
Fish Drive Edsels by Petunia-Liebling MacPumpkin

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#DJ ALERT! †LAMEBOT† SPEAKER DESTROYER† †DANCEFLOOR DOMINATION† MADSAVVY† †DESTRUCTION† [POA X Native Method]

noreply@blogger.com (Beatsandblood) — Sat, 22 Nov 2014 06:00:00 +0000

All hail the True DanceFloor Dominator!
LAMEBOT
Always in effect
An unending
Mad Scientist constructed
iLLuminati approved
Party Capsule
Delivered unto YOU,
People of Earth.
DJ's, you need to thank LAMEBOT.
He makes your job easier.
Grab this choon while you can.
Surely EL LAMEBOT will be World Famous soon.

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†#MURDERS INTERVIEWS† SHINE BRIDA EYES AND TEETH† †MUSIC BROKEN DOWN† † ELEMENTAL LEVEL† †SUMMER LUNGS†

noreply@blogger.com (Beatsandblood) — Sat, 22 Nov 2014 01:49:00 +0000

Some people make things happen.
Some people seem to always know
about the good Music before you do.
SUMMER LUNGS is one of these people.
When not making fantastic music of his own,
or enlightening the Universe to hip up and coming Artists,
Brendan gives one helluva good interview.
Let's see what transpired when Lungs
crept inside the minds of Shine Brida and Eyes and Teeth...

INTERVIEW WITH SHINE BRIDA

1Q: Give us some background on Murders. How did it begin? Was Shine Brida involved from the outset, who contacted who first, etc.? How long did this project take, from its inception up to its release on Halloween?

Shine Brida: I met Eyes and Teeth after Lexi Hex approached me to do a collaboration song earlier this year. She sent me a bunch of beats, and the one I ended up choosing for our song was one of Eyes and Teeth's. That song ended up becoming "Meth Lab For Cutie" which appeared on my second mixtape "Mind Reverser". After that song came out, Eyes and Teeth messaged me and asked if I'd like to use another of his beats for a solo track. I said... Sure. He sent me a tonne of beats, and in the end I couldn't pick just one or two and so we decided to do a whole EP. I named it Murders after listening through the order I'd chosen for the tracks - it was called Murders before any lyrics had been written. The word was floating around my head, and I knew that was the EP. I had the beats since August, but since I was wrapping up "Mind Reverser" (which was released on September 8th), I didn't get a chance to write for Murders until the second week of September. I wrote and recorded all my words in about one month, a little extra time was taken to send my tracks back and forth to my regular collaborator Trent Steelz from the rap group Southern Raised who mixed all my vocals out in Georgia.

2Q: One of the things I love about this record is that it's starkly progressive while simultaneously managing to tip its cap to several previous music trends. It essentially teaches listeners how to listen to it, and ultimately how to follow you into the future. Listening to it, I hear Maxinquaye-era Tricky (Shine Brida herself sounds a bit like MIA by way of Martina Topley Bird), early RZA, and Madlib. Would you say these are accurate musical reference points?

Shine Brida: I consider myself a person of the past and future for sure. I'm really glad that comes across in my music. When I say past I don't even mean our current cultural past, I am an avid historian (9th Century England through Medieval to Early Modern) and I (whether consciously or unconsciously) put those atmospheres into what I'm working on. But Maxinquaye in particular is a great reference point for me, it sounds so dark and English in a way that the popular perception of being English doesn't address. Rap wise i do find myself very influenced by current UK hip-hop artists like Ocean Wisdom and Edward Scissortongue, who just have so much to say for themselves that they've really stepped the game up. A lot of artists seem to not try anymore, even new artists. They feel like they don't have to or something. Maybe they don't, but I'm not interested in making a cool sounding song that has no substance. My earliest influences would be people like Mike Patton and Anthony Kiedis, though. Anthony Kiedis changed my life.

3Q: Another of the things I love about this record is the extent to which you've obfuscated the process of its inception. I close my eyes and I cannot picture the DAW project file. Everything sounds a bit vintage; I mentioned RZA above because I detect an Emax or Ensoniq flavor. What gear did you use to make this record?

Shine Brida: For my part, not much. I don't even have a mic. I don't even have a mainframe computer. I played the tracks into my ipad through the speaker to make a scratch track and recorded my verses through the inbuilt mic on that, on top of the scratch track Then I sent the a cappellas and the scratch track (as a guide for how the flow sits) along with the beat to Trent Steelz and he mixed my vocals on for me. I write all my words by hand in a notebook. Sometimes in pieces scattered throughout the notebook although really I drive myself crazy with that. So, I don't have a mic or a mainframe computer and I write all my words with a pen. Once I wrote a whole book with a pen. I have two notebooks, one for lyrics and thoughts and lists, and one because I'm learning Norwegian.

4Q: Please give us some background about yourself as a musician. How did you start, how long ago did you start, and how did you get from who you were then to who you are now?

Shine Brida: I'm a bit sick I think. So my music didn't really work until I decided to be okay with that. I say decided because it's not a fully realized thing. I'm not completely zen or anything like that. I just decided to try or something. Like, I should make lemonade instead of throw up on myself. So I became a rapper because there's more room for words. I've been writing lyrics since I was 13 and they just got more and more verbose. I started writing journals when I was 15 and I'm a prolific letter writer too. Basically, I became a rapper because I'm scared of forgetting stuff. So I'm telling everyone everything, I'm communicating it all the time, and then everyone else will remember small parts of all this reality and we can hold it all for longer. It's actually really futile. Half the time I see a huge point to what I'm doing, and half the time not at all. I still feel like the same person I was half my life ago, and I can't believe how far away it is. I didn't see myself change.

5Q: What was the most challenging aspect of this project, and how did you surmount it?

Shine Brida: I don't think I ever felt worried about anything to do with this project. I was too busy worrying about lots of other things. This kind of slipped through.

6Q: You describe the record as WitchHop. While I agree that there's a definite witch house flavor present in Murders (thereby absolutely justifying your genre description), I'd argue that there's less of the witch on this record than on, say, Dusted. One of the hallmarks of Witch House is the thick haze, as well as a forced distancing between the artist and the listener; it's rather impenetrable and esoteric. Murders strikes me as being a rather 'warm' record, actually. The vintage sampler production sound contributes greatly to this, but the melodic content and the mixing invites the listener inside in a way that's atypical of a lot of witch house (with more than a few notable exceptions, of course; AAimon and Bad America being two that come to mind). The witchyness of Murders seems to come from the record's themes, the use of sampled film dialogue and the lyrical content. Furthermore, witch house is something of an umbrella term; it encompasses electronica, hip hop, edm, ambient and free form experimental. Pardon the clichéd question, but what does witch house mean to you? How do you define it? Where does your music stand in relation to it?

Shine Brida: I chose the label "witch hop" because I had always believed that the word "witch" appears in "witch house" as a qualifier for the atmosphere or tone - ie witchy house music. A lot of my music (and I feel a lot of "Murders") feels to me like witchy hip-hop music. Thus witch-hop. Although I have many other influences of course, not least my native genres of UK grime and trip-hop which I think show themselves throughout the album too. To me, witch house is the modern day black metal. It's almost uncomfortable in its brutality sometimes, and I think it's going to prove to be a product of its time (which is a compliment not an insult), but it is aggressively atmospheric and rebellious against current trends, which is difficult to be now as so many things are played out - witch house rebels not by creating an anti-product, but by incorporating many of the elements of popular or classic "untouchable" trends and irreverently churning them up. As I have always looked back on the height of black metal with admiration, and a little envy since I wasn't there, I am hugely excited to experience witch house (and its cousin genres) as it is happening.

MURDERS by SHINE BRIDA x EYES AND TEETH

INTERVIEW WITH EYES AND TEETH

Q 1 : Give us some background on Murders. How did it begin?

Eyes and teeth:

I first became aware of Brida via the enigmatic Lolita rapper Lexxxi Hexxx. Through twitter, I had a few exchanges with Lexxxi, who I believe came into my infosphere via the ubiquitous Miles Farewell of Dior Sentai.

I was fascinated by this weird gothic Hip Hop Lolita from parts unknown and I fancied hearing her over some of my Music.

I sent her some tracks via email, and she ended up recording ‘Meth Lab For Cutie’. When she sent ‘Meth Lab For Cutie’ back to me, I was instantly bewitched by Shine Brida. The way she whispers ‘Eyes and Teeth’ in the beginning of the track entranced me. It was imperative that I made Music with this wondrous creature.

So I emailed Brida, told her I really liked how she sounded, and I sent her a bunch of music. Like probably 50 tracks.

I was amazed with her response and focus.

She basically replied with the ‘MURDERS’ track list, the titles of all the songs, and which instrumentals she was using for each track. I was blown away. This made me realize I was working with someone of a different caliber than the average bear.

MURDERS IS SHINE BRIDA’S CREATION.

All I did is make the music. She put the pieces together.

Brida is the most professional and sharp person I have ever worked with. She would send back the tracks, beautifully mixed, with her vocals embedded perfectly within the soundscapes.

Trent Steelz did one hell of a job mixing Brida’s vocals.

All the credit goes to him for that.

I was very impressed with Brida’s track selection.

She picked quite a few of my favorite babies that have been looking for a home for years.

Q 2 : Was Shine Brida involved from the outset, who contacted who first, etc.? How long did this project take, from its inception up to its release on Halloween?

Eyes and teeth:

I believe me and Brida began talking in August.

A Halloween release was imminent.

She had a vision with MURDERS.

We realized it.

Q 3 : One of the things I love about this record is that it's starkly progressive while simultaneously managing to tip its cap to several previous music trends. It essentially teaches listeners how to listen to it, and ultimately how to follow you into the future. Listening to it, I hear Maxinquaye-era Tricky (Shine Brida herself sounds a bit like MIA by way of Martina Topley Bird), early RZA, and Madlib. Would you say these are accurate musical reference points?

Eyes and teeth:

Thank you very much.
Those are some astute observations.
Musically, I am an omnivore.

Humans by nature are collectors. I happened to be bit by the music bug. I have voraciously recorded and collected music since I was a wee lad. I remember I had one of those Sony tape recorders. I was probably 9 or 10. This would’ve been 1981, 1982… I used to record commercials from television, stuff from the radio, then play with the recording device slowing it down, trying to play it backwards, etc.

This is essentially what I do now, albeit with more advanced tools.

There is magic in sampling. I remember reading ‘The Job’ from William S Burroughs, he spoke of doing tape cut up experiments, triggering panic and riots via playback of riots, etc. All of that is intuitively in many of us. The need to harness bits of our reality and recapitulate them. That is essentially what the music making process is for me. That’s the elemental level.

On the object level, actual music, it has run like a current thru my life and influenced me since I can remember. I was lucky. I grew up in the Detroit area. My young ears were able to receive transmissions from the Electrifying Mojo and Brave New Waves from Windsor.

On television, we had shows like The Scene and The New Dance Show. Showing the young teens of suburbia how to jit, introducing us to Kraftwerk, Miami bass, Detroit techno, etc. I consider myself very blessed.

Detroit is FUNKY.

Wanna hear a crazy conspiracy theory I have?

Parke-Davis Pharmaceuticals had laboratories in Detroit and Rochester.

Parke-Davis invented PCP and Ketamine.

I postulate that some of the failed experiments (pre-cursors to PCP and Ketamine) ended up in the Metro Detroit water table.

This enhanced water was used for baths, gardening, drinking, etc. The fish consumed it as well. Trophic magnification did it’s thing. Viola! Everybody in the Metro Detroit area is dusted. With dustedness comes enhanced sonic perception and rhythmic evolution.

The result? Motown, Iggy Pop, Madonna, Bill Laswell, Jack White, Eminem, Techno, all those Parliament and Funkadelic albums were recorded here, etc.

I realize this sounds completely insane, but it is fun to think about.

When it comes to musical influences, Raymond Scott, Bruce Haack, Miles Davis, Sun Ra, George Clinton, the Bomb Squad, J.G. Thirlwell, Devo, Tom Warrior, Mike Patton, Black Sabbath, Can, Sonic Youth, Steinski, DJ Shadow, Aphex Twin, Luke Vibert, Venetian Snares, Phoenecia, Otto Von Schirach, Coil, Merzbow, Boredoms, Whitehouse, Destroy All Monsters, Stooges, just to name a few.

Q 4 : One of the things I love about this record is the extent to which you've obfuscated the process of its inception. I close my eyes and I cannot picture the DAW project file. Everything sounds a bit vintage; I mentioned RZA above because I detect an Emax or Ensoniq flavor. What gear did you use to make this record?

Eyes and teeth:

The Music on MURDERS comes from a wide range of time. Everything you hear was created between 1999 and 2013. When I make a piece of music, I never do it for a specific reason or purpose. Pretty much everything I have made happened organically. For example, the music for the first track (MURDER ONE) was one of the first things I ever made. I made this in 1999 when I first started to use a computer for making music. The beats that make up the track were made in Fruity Loops from sounds I sampled with Sound Forge. I sequenced the beats and samples in ACID on a Windows 98 Gateway. Hence the old skool sound. I love that Brida picked that out as the lead track. She destroys that beat. When I made that, I had no idea that someone would be rapping on it. The thought never entered my mind.

ISAAC NEWTON was made in 2008 I believe. Sample from the amazing psychedelic Jesus Franco film ‘VENUS IN FUR’, a 1970’s Female Convict Scorpion film from Japan, a 1960’s HG Lewis gore film, and few other ones. I think I used samples from 9 different sources for this. The samples were made using Sound Forge and recording direct from DVD’s, one was recorded in the room from the TV (that gives it a little noise and grit). The samples were assembled in Ableton. One of the samples I put into FL studio and dropped a few drum samples on it.

JAMES ST JAMES. 2006, recovering from cancer in Florida. Made completely in FL Studio. Samples from Al Green, Herbaliser, snares and claps from different records, not sure about the guitar hit.

LATE FOR WORK was assembled from loops and breaks I sampled from many places in Ableton.

You get the picture. No two tracks were made the same. Sounds coming from a vast array of sources. Raymond Scott samples from 50’s, weird 60’s films, etc.

PULP FICTION obviously comes from Jefferson Airplane’s ‘White Rabbit’, Big L, ODB, and another secret place. Obviously I didn’t get clearance for any of these samples.

Q 5 : Please give us some background about yourself as a musician. How did you start, how long ago did you start, and how did you get from who you were then to who you are now?

Eyes and teeth:

I was blessed to come from a good family and exposed to instruments at a young age. Piano Lessons at 5 for a few years, saxophone in school band 5th-10th Grade. Bought my first guitar from a pawn show with money I saved from caddying summer of 8th grade (1986). Keyboards were around probably from the age of 15 onward. Bought my first Drum Machine (Roland R-5) in 94 I think.

I first began using a computer to make music in 98-99.

At first I used ACID and used it as basically a 4-track, recording layers of guitar and keyboard over a simple drum loop.

The first time I saw a wav file opened up in Sound Forge was a revelation. I realized that I had the ability to alter the wav file, past two wav files on top of each other, take small parts of sound from sound files, etc. This changed everything and I quickly became sample crazy. I bought a mini-disc recorder in 2001 to record sounds from the environment. I would chop these up and put them into beats and loops. Things just evolved from there.

q 6 : What was the most challenging aspect of this project, and how did you surmount it?

Eyes and teeth:

There was nothing challenging about this project. It was pure magick. The only challenge came when I got into the CD creation phase. I used CDBaby to manufacture the CD’s. It took a little back and forth to get the CD art the right dpi and size for printing of the insert and tray inlay. Other than that, MURDERS just kind of happened. Almost as if it was guided by an outside force.

q 7 : You describe the record as WitchHop. While I agree that there's a definite witch house flavor present in Murders (thereby absolutely justifying your genre description), I'd argue that there's less of the witch on this record than on, say, Dusted. One of the hallmarks of Witch House is the thick haze, as well as a forced distancing between the artist and the listener; it's rather impenetrable and esoteric. Murders strikes me as being a rather 'warm' record, actually. The vintage sampler production sound contributes greatly to this, but the melodic content and the mixing invites the listener inside in a way that's atypical of a lot of witch house (with more than a few notable exceptions, of course; AAimon and Bad America being two that come to mind). The witchyness of Murders seems to come from the record's themes, the use of sampled film dialogue and the lyrical content. Furthermore, witch house is something of an umbrella term; it encompasses electronica, hip hop, edm, ambient and free form experimental. Pardon the clichéd question, but what does witch house mean to you? How do you define it? Where does your music stand in relation to it?

Eyes and Teeth:

I have never liked labels. Labels confine. The only reason I called it ‘Witch Hop’, is that I like how it sounds. ‘Witch Hop’ just sounds cool. If you want to get technical, it is really just a Hip Hop record. But it seemed lame just to call it ‘Hip Hop’. Plus, people who are into labels might be more apt to listen to something called ‘Witch Hop’. Ever since 2001, I have called my music ‘Dark Wave’, that was the coolest sounding genre to pick from the list the Windows Media Player listed.

Q 8 : Note: please forgive the last question's verbosity. Having said that, I shall now type even more.
As you can probably tell, the defining characteristics of Witch House are something I've given some thought to. I usually categorize my own music as witch house, though I consider this categorization to be primarily implicit rather than explicit. I feel as though my music has appeal to fans of witch house; I label it as such primarily for marketing purposes, though I think the drug-damaged, unhinged and half-deranged underpinnings of witch house are absolutely present in my stuff as well. I get the sense that the same holds true for you to a certain extent, though I could of course be wrong in this estimation

Eyes and teeth:

As for musical reference points, the RZA detection is very astute.

I fell head over heels in love with Hip Hop circa 1993, 1994, New York style Boom Bap. Especially DJ Premiere. Go listen to ‘Hard To Earn’. The shit is timeless, Hip Hop perfection.

I would be remiss not to mention the Bomb Squad. Fear of a Black Planet was recorded on tape! Shocklee is a Scientist and true Master. My ears were spoiled by the Bomb Squad, D.I.T.C. Premier, Native Tongues, Dust Brothers, etc.

An album like ‘Fear of a Black Planet’ or ‘Paul’s Boutique’ could never be commercially released today. Trying to secure usage rights to all the samples used on those two albums would be a maddening, and insanely expensive endeavor. Take one track, Pollywannacracka for example. 17 samples just in that one track. Do the math.

If these interviews tickled your brain,
please show your support.
MURDERS by SHINE BRIDA x EYES AND TEETH

†DANNY BROWN & BRUISER BRIGADE† †DETROIT† †MAJESTIC THEATER† 11/26!!!!!† †WIN A DATE WITH BEATS AND BLOOD!†

noreply@blogger.com (Beatsandblood) — Sat, 15 Nov 2014 14:52:00 +0000

Word on the streets is BEATS AND BLOOD has an extra ticket

for DANNY BROWN & THE BRUISER BRIGADE

in DETROIT at the MAJESTIC THEATER.

He wants a cute girl to accompany him.

Is that you?

Email me.

EYESANDTEETH@GMAIL.com

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†DEADLY NEW DISEASE† †INVADES METRO AREA† †iLLPHORIA† †NOLAN THE NINJA RESPONSIBLE† †KILLER INSTRUMENTAL BOOM BAP†

noreply@blogger.com (Beatsandblood) — Sat, 15 Nov 2014 14:37:00 +0000

DETROIT'S one Man Hip Hop Army NOLAN THE NINJA
has been quietly unleashing deadly Boom Bap gems for a few years now.
Those that bemoan the new music not being raw enough,
not having that knock, not being ill enough, not having that grime,
need to check themselves and examine NOLAN's oeuvre.
For those 99% fuck boys who don't know anything about
digging, Akai's, breaks, illness, sonic science,
and head noddery, too bad.
Nolan represents that Golden Age.
Carrying the torch passed on to him by luminaries such as
DJ Premier, Dilla, Pete Rock, D.I.T.C., etc.
Only the real motherfuckers will spend all day on Saturday,
knee deep in dirt, grit, and grime, looking for that perfect snare.

NOLAN is one of these dudes.

The next generations of Scientists,
practicing the Art of Hip Hop.
His newest iLLPHORIA, is a must have.
showing progressions, yet at the same time,
planting deeper roots.
Fuck with this now.
illphoria. by Nolan The Ninja

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#Diplo #BiggieBounce #Bass #SubBass #Twerk LAMEBOT IS THE NEW BASS GOD

noreply@blogger.com (Beatsandblood) — Sat, 15 Nov 2014 02:58:00 +0000

Fools need to recognize
LAMEBOT IS THE NEW BASS GOD
HE HAS A SPOT ON THE MOTHERSHIP.

Thank You @djtravismac @djkero @djmadmel @djgodfatherdetroit

A photo posted by BEATS AND BLOOD (@beatsandblood) on Nov 11, 2014 at 5:15pm PST

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†IT IS TIME TO WORSHIP SILVERIO† † PERRO† †Salón de Belleza†† @OttoVonSchirach† †MAGIC SWAMP MUSIC† † @silverionr †

noreply@blogger.com (Beatsandblood) — Fri, 14 Nov 2014 01:20:00 +0000

I don't know nearly enough about SILVERIO.

I do know that I love him.

and that I should probably start worshiping him.

Just watch these amazing videos.

You will probably feel the same way.

@silverionr Tomando las riendas del país. pic.twitter.com/ftDw08p49V

— OLAF (@GRIFTERMEX) November 13, 2014

†CARCASS MACABRE EXHUMED NOISEM† †LIVE IN DETROIT† †CONCERT REVIEW† †PHOTO RECAP† †#DeathMetal † †BRUTAL SHOW†

noreply@blogger.com (Beatsandblood) — Thu, 13 Nov 2014 18:29:00 +0000

If you happen to be anywhere near Grand Rapids tonight,

I implore you, GO TO THE CARCASS CONCERT!

with MACABRE, EXHUMED, and NOISEM.

I caught this show last night at the CROFOOT in Pontiac.

Easily one of the best shows I have seen in the last few years.

All four bands tore faces off.

I arrived near the end of NOISEM's set,

working my way to front and center for EXHUMED.

Heavy Metal Energy in the building began to increase as

Michael Hamilton's drum kit was assembled.

Check out that saw blade!

A photo posted by BEATS AND BLOOD (@beatsandblood) on Nov 11, 2014 at 9:50pm PST

EXHUMED did not disappoint.

Splattering the crowd with a deathly blend

of new gore gems and old gore classics.

A photo posted by BEATS AND BLOOD (@beatsandblood) on Nov 11, 2014 at 9:43pm PST

A photo posted by BEATS AND BLOOD (@beatsandblood) on Nov 11, 2014 at 9:39pm PST

A photo posted by BEATS AND BLOOD (@beatsandblood) on Nov 11, 2014 at 5:43pm PST

Shortly after EXHUMED ripped our faces off,

MACABRE confidently took to the stage.

I don't think some people at the venue

were ready for the ferocious,

razor sharp music that was about to transpire.

I can honestly say that this was the most educational

concert I have ever been to.

MACABRE's lead singer,

CORPORATE DEATH, regaled the crowd

with history lessons before most songs.

History lessons about notorious Serial Killers!

As far as three piece combos go,

this set from MACABRE easily

ranks as one of the best

assaults I have ever encountered.

You know a band means business

when the bassist throttles a six string,

and the guitarist pulverizes a seven string.

This is the first time I have seen MACABRE live,

and I was absolutely blown away.

DENNIS THE MENACE is one of the

better drummers I have seen.

I had no idea that MACABRE has had the same

3 person line-up since 1984.

That's 30 years together.

I'm not gonna say the MACABRE

was better than CARCASS,

but I will say that they are definitely

one the better three piece

Metal bands currently traversing the Planet.

Do not hesitate to see these wicked gentlemen

when they blast into your town.

The Zodiac Killer even joined the band onstage!

A photo posted by BEATS AND BLOOD (@beatsandblood) on Nov 11, 2014 at 9:54pm PST

A photo posted by BEATS AND BLOOD (@beatsandblood) on Nov 11, 2014 at 10:14pm PST

A photo posted by BEATS AND BLOOD (@beatsandblood) on Nov 11, 2014 at 10:05pm PST

A photo posted by BEATS AND BLOOD (@beatsandblood) on Nov 11, 2014 at 10:11pm PST

A photo posted by BEATS AND BLOOD (@beatsandblood) on Nov 11, 2014 at 10:02pm PST

CARCASS took to the stage shortly after

MACABRE's Murder Metal History Lessons,

giving the audience a clinic in Audio Butchery and Savagery.

Completely devastating.

CARCASS covered a great cross

section of their discography,

completely annihilating tracks new and old.

Hard to believe these Metal Gods

have been at it for nearly 30 years.

All songs were attacked tenaciously,

scientifically sharp, brutally heavy.

A photo posted by BEATS AND BLOOD (@beatsandblood) on Nov 11, 2014 at 10:34pm PST

A photo posted by BEATS AND BLOOD (@beatsandblood) on Nov 11, 2014 at 11:43pm PST

A photo posted by BEATS AND BLOOD (@beatsandblood) on Nov 11, 2014 at 10:48pm PST

A photo posted by BEATS AND BLOOD (@beatsandblood) on Nov 11, 2014 at 11:36pm PST

A photo posted by BEATS AND BLOOD (@beatsandblood) on Nov 11, 2014 at 11:23pm PST

A photo posted by BEATS AND BLOOD (@beatsandblood) on Nov 11, 2014 at 10:31pm PST

A photo posted by BEATS AND BLOOD (@beatsandblood) on Nov 11, 2014 at 11:51pm PST

The only way to keep the Metal alive

and continue having amazing shows

like this one, is to go to the shows.

These are some hardcore Artists.

Still being road dogs after 30 years of life.

That must be respected.

SUPPORT YOUR SCENE.

GO TO SHOWS!

99 MINUTE INTERVIEW DOOM (MADRID 2011) x NEW NPR INTERVIEW WITH THE LEGENDARY DANIEL DUMILLE

noreply@blogger.com (Beatsandblood) — Fri, 07 Nov 2014 07:42:00 +0000

Check the raw 100 minute interview with the ever enigmatic Daniel Dumille.

Lecture: DOOM (Madrid 2011) from Red Bull Music Academy on Vimeo.

I BORROWED THIS FROM NPR...

Rapper DOOM, Zev Lov X of KMD, performs at the I'll Be Your Mirror festival in London, July 2011.

Jim Dyson/Getty Images

"A Rational Conversation" is a column by writer Eric Ducker in which he gets on instant messenger or the phone with a special guest to examine a music-related subject that's entered the pop culture consciousness.

In May of 1994, KMD were supposed to release their second album, Black Bastards, on Elektra Records. Three years earlier the trio of lead rapper Zev Love X, his younger brother Subroc and Onyx the Birthstone Kid had put out their debut, Mr. Hood. The group was best known as affiliates of 3rd Bass and the album combined whimsical samples with Five Percenter knowledge. Mr. Hood had its fans, but the album didn't make as much of an impression as did other 1991 first full-lengths by New York peers like Black Sheep, Leaders of the New School or Main Source.

By the time Black Bastards was ready, the group had only one member left, Zev Love X. Onyx had quietly left the group before work on the follow-up began, and Subroc was hit by a car and killed in 1993 shortly before it was finished. But even before the death Subroc, who Zev was incredibly close to, Black Blastards was taking form as a much darker album than Mr. Hood. Not only had the group started experimenting with all kinds of intoxicants, their outlook had turned bleaker and violent. Musically, it was better. As the group left their teens and entered their twenties, both their lyrics and production became more complex and distinctive.

And then, just as Black Bastards was about to go on sale (review copies had been sent out and some press was completed, a video for the lead single "What a N—— Know" was filmed), Elektra decided to pull the album and drop the group. The most commonly cited spark for this decision was Terri Rossi's R&B Rhythms column in the Airplay Monitor, a newsletter fromBillboard magazine, that attacked the album's cover: Zev Love X's drawing of the Little Sambocaricature hanging from a noose. Anti-Little Sambo imagery had long been featured in KMD artwork as part of their commentary against racial stereotypes, but, fittingly for an album that was grimmer, on the Black Bastards cover he was no longer depicted in a circle with a line through it — he was meeting his death. Rossi considered the cover an extremely racist image rather than an anti-racism one, and Elektra and its parent company WEA (the Warner Music Group) was trying to avoid potential problems following the massive controversy with Body Count's "Cop Killer."

No other label wanted to release Black Bastards, but bootlegs began to circulate in the proceeding years and three songs from it appeared on a vinyl EP released by indie label Fondle 'Em in 1998. In 2000, Black Bastards was reissued in full officially for the first time on the label Readyrock, then was put out a year later on Metal Face/Sub Verse. By that time Zev Love X had transformed into the cult figure/rapper MF Doom and cultivated his own following. For listeners whose understanding of Doom began with the youthful, often silly Mr. Hood, his 1999 solo debut, the far more sinister Operation: Doomsday, came as a surprise. Black Bastards is the missing link between the two.

In late October Brian Coleman released his book Check the Technique, Volume 2, which tells the stories behind the making of landmark hip-hop albums. Over the past 20 years, the story of Black Bastards has been publicly recounted by Dante Ross, KMD's A&R representative at Elektra and a fixture of New York City music, and by 3rd Bass member MC Serch. Coleman devotes over 20 pages to the making of Black Bastards, incorporating the perspectives of a wider range of the participants who made it happen. To discuss the impact and legacy of this strange artifact of hip-hop history, Ducker spoke with writer and fellow Black Bastards fan,Andrew Nosnitsky.

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Do you remember the first time you heard Black Bastards?

I was pretty far behind the curve on that. I was still a baby [not literally] when it was supposed to come out. I probably first heard some of it via the 12-inches that came out on Fondle 'Em, which would've been 1998, but it had been floating around on bootlegs for years prior to that.

I first heard it when my brother bought it on tape in what I believe was 1997. I dubbed it from him. I just asked him about it and he said about 10 of them appeared at Amoeba in Berkeley one day and disappeared very quickly. He said the sound quality on that tape was much better than any of the other stuff that had been previously floating around that he had heard.

Yeah, even to this day I don't think anyone has unearthed the actual masters. All the reissues sound like they were mastered from a cassette bootleg anyway, though then again, maybe some of that is intentional.

You mean in terms of how KMD wanted the album to sound?

Yeah.

When you heard those Fondle 'Em singles, did you know KMD's first album, Mr. Hood?

I think so? My memory is a little foggy as far as timelines because we are getting into the hyper consumption Internet era. I definitely had the Doom 12-inches, which probably had lead me back to Mr. Hood by that point.

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So Doom was your entry to them?

Yeah, I was getting into hip-hop right at the moment that hip-hop was kind of forgetting KMD. Or maybe not if you were able to get Black Bastards bootlegs in Berkeley in '97!

I'm sure the audience for something like that was small but rabid.

Right, and secrets could still move slowly back then.

I'm a few years older than you, and I was a big fan of Mr. Hood. As a MF Doom fan first, what did you make of the Black Bastards stuff when you first heard it?

Honestly, I wasn't instantly in love with it. It just kind of got filed on the Fondle 'Em shelf at first. I'm not sure why they cut it to an EP, the album is so well structured that everything works better in context. Even the name of the EP, Ruffs + Rares, makes it seem like such a minor thing.

When you started listening to Black Bastards, at first or when you really dug into it, did it make sense to you that the guy on there would go on to become MF Doom?

Probably. There's definitely more of an obvious connectivity between Doom and Black Bastards-era Zev than there is with Mr. Hood-era Zev. Man, it must've been great to hear all this music chronologically as it was happening.

Well, I think there's very few people who did, and they were probably either close to the group or helped make the album. When I heard the tape, the first MF Doom stuff was already out, so people my age or older were trying to reconcile how the bookish and playful young Muslim guy in KMD went on to become this demented street super villain character named MF Doom, but Black Bastards makes it a very clear progression.

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Totally. It must've been shocking to hear him go from "Peach Fuzz" to a full on stick up kid on the first track. But in a way, that's what being a young person is — stepping in and out of identities until you find the right balance.

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That's one of things the Check the Technique chapter really drove home for me, how young KMD were (especially Subroc) when they made their two albums. They were in videos with 3rd Bass and doing songs with Brand Nubian, so to the 13-year-old me, they are basically full-on adults, but in reality they would have only been a few grades ahead of me in school.

Yeah, that's always a weird moment for a hip-hop listener, when you realize the stars you were looking up to as a kid were actually just slightly older kids. But I think that has a lot to do with the potency of a record like this. Here are these kids who are thrust into adulthood at an even more rapid pace than someone in their late teens/early twenties and they have a document of that transition.

I actually found an old review of Black Bastards in Spin from when it was supposed to come out in 1994 and even the writer [and The Record contributor] Danyel Smith doesn't seem to grasp about how much of a departure and progression this album is, and she's very knowledgable,.

Yeah, I was just reading that. Danyel is a west coast writer though, and I do think [the review is] an interesting way to frame what was happening in east coast hip-hop at the time — like as west coast stuff got smoother, the east coast guys got pissed and made a bunch of angry lo-fi s—- (see also Enter the Wu-Tang: 36 Chambers). I'm not sure I agree with that theory. It's probably more likely that the industry saw the money drying up on these acts, which left them to their own devices and allowed them to tap into their more instinctive ruggedness.

What other albums from 1994 that actually did come out in 1994 do you feel like Black Bastards is akin to? Or do you think it stands out as a separate thing?

Musically it's pretty singular. I guess you could tie it into 36 Chambers in a way, though that was from the year before. Thematically I would actually put it next to Common's Resurrection in terms of bleak but also somehow playful coming of age stories — both being sophomore albums by artists who were basically complete goofballs on their first records and who are still basically goofballs but are suddenly carrying frustration on top of that. It's related to what I was saying before, of capturing this very specific moment of a maturing artist. I'd throw Organized Konfusion's Stress: The Extinction Agenda in the mix there, too.

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Do you hear that idea mainly in the lyrics or in the production, or is it reflected equally in both?

Lyrics. Here's the thing: all these acts got objectively harder on these records. They were talking a lot more s—-, but there was a clear-cut reason for that. For lack of a better word, they were becoming more conscious, too.

Right, they had a philosophy or values that shaped their outlook on the first album, but the second album is kind of about what happens and how they adjust when they've presented that outlook to the larger world.

Yeah, and when the larger world kind of comes crushing down on them, which is a very real experience for a young person. 1994 is an interesting time because you look at an album likeIllmatic, which is so obviously constructed as a SERIOUS STATEMENT FROM A YOUNG PERSON, and in a way it's a lot less interesting. Young people don't make serious statements, not consistently. They're scattershot aggression and joy and chaos, and then sometimes great wisdom emerges out of that mess. That ties into another thing I love about Black Bastards: it's not especially self-conscious. They still had that Native Tongues thing going on where it felt like you were peering into someone else's universe. It's like the dark Native Tongues album

Yeah, I feel like the hidden in plain sight thing about most Native Tongues/Afrocentric albums of the early '90s that people don't talk about is how horny they are. But Black Bastards is more violent and confrontational. There's nothing fun about that album.

I wouldn't say that at all. There are still running gags.

Well, they are darker gags.

Exactly, but it's the same thing as with Mr. Hood and a lot of the Natives stuff, where it's such a specific voice that it could only come organically from a group of friends. You can just imagine them listening to that Kain record and hearing him say, "Like a constipated monkey," and having it be a running joke for a week in their circle. Or not even a joke, just a reference, like this is something that is being absorbed into the way they communicate with one another and then spit back on a record.

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So, going back a little, the Common and Organized Konfusion albums you mentioned in a way saved or redirected their careers. Had Black Bastards come out, how do you think it would have been regarded and how would it have affected their career? (This hypothetical question is even harder because Subroc had already passed on.)

It would probably have been more of an Organized situation than a Common situation: well regarded by well-informed rap nerds, but more or less forgotten by everyone else. (And the only reason Common's Resurrection holds water today is because it had a big resonant single.Nobody is listening to "Orange Pineapple Juice" in 2014.). And I'm so hardwired to the KMD mythology that I can't even imagine what a third record from them would sound like. Looking at the Common and Organized timeline, I guess it would be an overlong and confused record with a couple amazing songs on it. There is this giant chasm between 1994 rap and 1997 or 1998 rap, and most people didn't make it over.

You mean there weren't many artists who were able to release albums in both of those time periods?

Right. Because Doom was pushed out early, it gave him space to regroup, whereas guys like Organized were stuck in a system that was changing dramatically. Expectations were a lot higher. Stakes was high!

Back then Doom didn't look like he was taking a loss going from a major to an indie (which wasn't a cool thing to do back then), because he could transform into a "new" artist.

Exactly, and he never had to make his sellout records. God, can you imagine Doom being forced to make jiggy music in 1997? Actually on second thought, that would be kind of tight. As much as I love Operation: Doomsday, I am sad that we never got to hear an Zev Love X and Puff Daddy collab, ala Mic Geronimo's "Nothing Move But the Money."

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How much do you think the mystique and interest around Black Bastards exists because of the fact it never came out in 1994, the reason why it didn't come out and Subroc's death before it was finished?

That's a tough question because, like you said, so few of us had a chance to hear it divorced from that context. Even if we had gotten a bootleg early, it was a rare lost masterpiece. Empirically it's a very good record.

So you don't think that context adds extra gravity to it? I love it, but it's always tough to judge whether I love something purely or if it's because of my history with the artist, my age when I first heard it, what else I was into when I first heard it and so on.

I could see some early KMD fans being put off by the darkness without the benefit of context. Devout Muslims turn around and make a bunch of songs about robbing people and drinking wine, but that's the eerie thing about that record, the context affirms its existence. I don't usually believe in premonitions and things like that, but you can sense that they could sense that all was not right.

I can't remember if it was Dante Ross or MC Serch talking about it on a podcast, and it's alluded to in Check the Technique, but it sounds like KMD were using lots of hallucinogenics while making Black Bastards.

Yeah, I saw that. Makes sense.

What more do you want to know about the album?

I'm still processing a lot of the stuff that was revealed in that book. I didn't know they were close with Dr. York and recorded part of it at his studio. That adds another layer of darkness, in a way. Or the part about Doom playing the album front to back at Subroc's wake.

Sonically and perspective-wise, have you heard the influence of Black Bastards on releases from other artists?

Not very much. As far as rapping, it seems like later Doom is more influential. The one thing is the "What a N—— Know (remix)," which as far as I can tell, was the true birth of the Chipmunk soul thing that Kanye blew up at the turn of the century, even though everyone always gives it to RZA. That Gil Scott-Heron "I saw the thunder and heard the lightening" bit is the first example of a rap song specifically pitching up male soul vocals to sound female.

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Do you think that was a conscious influence or just an inevitable development?

I have no idea. I wonder if RZA has listened to Black Bastards; I wonder if Kanye has listened toBlack Bastards. That's the thing about this record, it's kind of cut off from the lineage. It's legacy is Doom's legacy, but I don't think it goes much further than that. Maybe I'm wrong though, butterfly effects and all.

Butterfly effects?

Like a butterfly flaps its wings and causes an avalanche, or whatever.

I thought you meant there was something about the sound on the album you were likening to a butterfly or the sound a butterfly makes.

There might be. There's a lot happening sonically in the margins of that record.

When I asked you about the influence of Black Bastards on other artists, you mentioned that you think that later Doom's rapping is more influential. Who do you mean specifically?

I hear more of the sloppy, non-committal, multi-syllable flows in kids like Earl Sweatshirt than I do the more lively Zev Love X flow. Even when they were rapping about miserable things, KMD had a real upbeat energy to their rhyme style and that seems like it would be incongruous with basically everything out today apart from maybe Rae Sremmurd or some Young Thug songs. Everyone else raps sad or serious or angry now.

I've been trying to find out for years what happened to Onyx and was bummed there wasn't a definitive answer in Check the Technique. I once emailed Ta-Nehisi Coates about it after he wrote the Doom article for the New Yorker, but he didn't know.

I asked Doom about him when I interviewed him. He gave me a very vague answer: "He went back to doing whatever he was meant to do in his life."

Has Doom talked about the album much before this book?

He didn't talk much about the album in the book. The Doom quotes are like, Yes, that was a song about drinking wine, we were drinking a lot of wine.

†FIRST VIDEO† †FROM #MURDERS† †MURDER ONE† †SHINE BRIDA x EYES AND TEETH† †CD'S NOW AVAILABLE†

noreply@blogger.com (Beatsandblood) — Wed, 05 Nov 2014 12:23:00 +0000

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†NEW DOCUMENTARY SERIES† †SUPER GAME JAM† †MAKING VIDEO GAMES IN 48 HOURS† †@kozilekmusic + doseone SOUNDTRACK†

noreply@blogger.com (Beatsandblood) — Sun, 02 Nov 2014 04:24:00 +0000

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SUPER GAME JAM SoundTrack

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SUPER GAME JAM is a documentary series about making video games in 48 hours. Starring the following Beautiful peoples; Jan Willem Nijman, Richard Boeser, Christoffer Hedborg, Dominik Johann, Sosowski, doseone, Jonatan Soderstrom, Martin Jonasson, Liselore Goedhart, and Tom Francis.

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noreply@blogger.com (Beatsandblood) — Fri, 31 Oct 2014 16:49:00 +0000

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