offbeet :: downbeats & hip-hops

WHY?: Elephant Eyelash (2005)

noreply@blogger.com (tee. ess.) — Mon, 09 Jun 2008 19:37:00 +0000

::: Where do I begin when trying to explain the style of this Anticon mainstay? It's not very often that an artist's name truly exemplifies the sounds that is created. WHY? (real name Yoni Wolf) is somewhere between hip hop, pop, and folk music, but never leans toward any genre in particular. He is a singer, though his voice is not what most would call exceptional, but it gives him a distinct and endearing musical presence. His first release Oaklandazulasylum was one of chaotic yet mellow sounds, somewhat similar to his collaborations on the cLOUDDEAD projects. But with Elephant Eyelash, the sound became less harsh and unpredictable with the incorporation and accompaniment of a full band. Much of the album comes across as folk or pop, with slight influences of hip hop scattered throughout. Yoni frequently displays his unothodox hip hop delivery along with his unconventional vocal melodies. It is safe to say that Yoni Wolf and WHY? are truly one of a kind. If you are into previous releases from Anticon (i.e. cLOUDDEAD, Themselves, Restiform Bodies, etc.), you will probably enjoy Elephant Eyelash. His new album Alopecia is also a great record, that builds upon the style that Elephant Eyelash established and pushes it further.

MySpace Music

Anticon Records

Jantsen: Gutter Music (2007)

noreply@blogger.com (tee. ess.) — Mon, 09 Jun 2008 18:42:00 +0000

::: So lately I have been getting into a lot of mash-up projects, most of which combine rap/hip-hop and intense electronic music. While browsing through the iTunes radio stations I came across one called "Psyphy Machine" that really caught my ear. The station revolves around this psyphy (psychedelic/hyphy) style of mash-ups and original productions, where hard-hitting electronic synths are combined with hip hop elements. One artist that particularly impressed me was Jantsen, out of Colorado. His work resembles the style of eDIT and Tipper, but he puts his own unique twists on each track. The mix opens up with a dope mash-up of "Still Bigger Than Hip Hop" by Dead Prez and "Ruck" off of Tipper's Tip Hop album. The entire set is an eclectic blend of styles, but overall it has a riotous and glitched-out feel to it. Jantsen also has another mixtape called Whomptronica, where he mixes other glitch-hop, psyphy-style artists. Definitely check both albums out if you are into this genre. Both are available for free download on his Myspace Music page.

MySpace Music

Sage Francis: Human the Death Dance (2007)

noreply@blogger.com (tee. ess.) — Tue, 03 Jun 2008 14:04:00 +0000

::: Back after a couple months hiatus, so I thought I'd do a post on one of my favorite artists in hip hop. For those of you who haven't heard of him, Sage Francis is a master at bringing the raw emotion and intensity of spoken word poetry and incorporating it into music that is undeniably hip hop. A lot of artists who attempt to use spoken word elements in hip hop tend to overemphasize the poetry aspect and, in turn, stray too far from the perennial pulse of hip hop music. Sage, however, is able to blur these lines and approach both forms from the perspective of a seasoned b-boy veteran. While many of his lyrics are powerfully deep and reflective, there is always a lighter side that prevents him from becoming a downer. Basically, he is dead serious and cleverly facetious at the same time. I had the pleasure of seeing him live in Lawrence, KS a few years back and he performed the whole show in a monk's robe. At one point he stopped the music and challenged any member of the audience who was man enough to come up on stage and wrestle him. The outcome was a hilarious half-naked and half-assed wrestling match, which was definitely an interesting spectacle to witness during a hip hop show. But back to the music... Human the Death Dance is Sage's most recent album, and probably my favorite since Personal Journals or his Non-Prophets project with Joe Beats. His lyrics are as sharp and clever as ever, with a mixture of ruminative reflections and upbeat bravado. There is an ever-present theme of death (hence the title), but mainly in reference to a defiance of the fear of death rather than overly morbid overtones. Sage utilizes a lot of great producers, including Alias (Anticon), Ant (Atmosphere), Sixtoo, Buck 65, and a local K.C. producer Miles Bonny (Soundsgood). A few favorites are Clickety Clack, High Step, Keep Moving, Black Out On White Night, and Call Me Francois. If you are a fan of Sage's previous albums, you should definitely check Human the Death Dance.

Verse from Clickety Clack:

You should have known better than to be mingling with rats

Got a lead to your shack from some gypsies in the trash

Cryptic interactions, I asked them to stick to facts

Made a trade and gave them everything that I packed

Now there's a brick through your window, kid, sift through the glass

Notice the note in which the brick was wrapped

Explaining that I know how you're quick to the dash

But it won't be very long before you slip in my trap

Like a moth to the flame with its wings in the wax

It's hard to escape with your limbs in a cast

Your heart will deflate when your wrists both get slashed

And gradually I snap these synapses in half

Magnificent crescendo, the cymbals all crash

You'll pay for your deeds, but we don't accept cash

We will mix and match this for that, tit for tat

Gonna get it, get it back, gonna getcha getcha back.

Tracklist

MySpace Music

Strange Famous Records

Cold Duck Complex: Figureheads (2003)

noreply@blogger.com (tee. ess.) — Tue, 15 Apr 2008 02:05:00 +0000

::: I had the pleasure of first hearing this band on a free live session that they released from a college campus, and I have yet to find a band that resembles them in any form. Cold Duck Complex is one part hip hop and three parts jazz in an incredible combination that is as unique as it is uplifting. The group consists of rapper/vocalist Platypus Complex and jazz/groove band the Cold Duck Trio, who mesh to form the Cold Duck Complex. Platypus has a flow that's all his own, but at times reminds me of a less angry version of Zach De La Rocha of Rage Against the Machine. He spits intelligent and socially/politically conscious lyrics, which can be fully appreciated after several listens. The band incorporates the element of live jazz with hip hop, which is upbeat or mellow depending on the intended feel of the track. This is one band that I would kill to see live, but I don't see them coming to my neck of the woods any time soon. Though they are best suited for a live atmosphere, their sound translates well to recording on Figureheads. A few tracks that really stand out to me are Son of a Snapper, Upstream, Wake Up and Lucky Me. If you can get your hands on a copy of this album, you have to buy it. It is a rare blend of intelligence, creativity, and individuality.

Wax Tailor: Tales of Forgotten Melodies (2006)

noreply@blogger.com (tee. ess.) — Thu, 27 Mar 2008 13:52:00 +0000

::: So I haven't written a post in a while now, but lately I've been enjoying a lot of instrumental hip hop. One of my favorite artists from the last couple years is a French hip hop producer named Wax Tailor. He has been around since the early 1990s, but I hadn't heard of him until I came across his album Tales of Forgotten Melodies. What makes this release great is the variety of sound that Wax Tailor combines, everything from hip hop to jazz to soul and all in between. These elements are held together by samples and beats that make you feel like you are in an old 1950s movie. Some have descibed his music as "cinematic hip hop" because he incorporates melodies and vocal samples from films of the past. Though the concept is not new, Wax Tailor does a great job of setting the mood of the album, switching between styles much like a movie changes its scenery, direction, and emotional emphasis. Basically it is just some entertaining instrumental music with dope drum beats, unique samples, and a couple guest rappers and singers. Definitely recommended, along with his newer album Hope & Sorrow.

Tracklist

Aesop Rock: Appleseed EP (1999)

noreply@blogger.com (tee. ess.) — Mon, 10 Mar 2008 19:26:00 +0000

::: For those of you who have heard Aesop Rock before, you might think Float was his first album, or maybe even Labor Days. But before his semi-major label deal with Mush for Float, there were two releases that Aesop put out on his own. The first was entitled Music For Earthworms, which is a great album to start off his collection, followed by his Appleseed EP. I chose to write about Appleseed because it is one of my favorite Aesop releases overall. At only eight total tracks, it is similar to his later Daylight EP, in that every song is solid and there isn't any filler. One great thing about this album is that Aesop produced almost all of the beats, with the exception of "Sick Friend" (Omega) and "1000 Deaths" (Blockhead). The beats are not all that complicated, usually a combination of the traditional sample and drum loop, but they work well with Aesop's distinct style. With Aesop I think it works best when there is a steady rhythm to balance out his unpredictable and complex delivery. One of my favorite Aesop tracks of all time is on Appleseed, entitled "Hold The Cup," and there is also a cameo from Dose One on the last track, "Odessa." Appleseed is a must-have for any Aesop Rock fan, and a good start for those looking to get into his music.

Tracklist

Def Jux Bio

Alias: Muted (2003)

noreply@blogger.com (tee. ess.) — Fri, 07 Mar 2008 03:26:00 +0000

::: I'll start off by saying that my favorite producer of instrumental hip hop music would have to be Alias of Anticon. Everything that he creates is amazing, but I'll give my two cents on his 2003 album Muted. I first came across Alias when I heard the Anticon Label Sampler a few years back and was blown away by his tracks "Sixes Last" and "Unseen Sights" featuring Markus Acher of The Notwist. I would describe his music as a mixture of ambient electronic and distorted, hard-hitting drum beats, but that is really oversimplifying it. Muted is one of those albums that when you start listening you almost have to play it all the way through because it is so diverse and compelling. The instrumentation is at times airy and beautiful, and others dark and haunting, all composed by Alias on his impressive collection of studio equipment. But this harmony is offset in many cases by his MPC constructed drum beats that are always dope and always distinct. The beats are coated with distortion, varying between rapid hi hats and sharp snare hits, always with a heavy bass line. All of these elements combine to form a dark and beautiful masterpiece of instrumental hip hop that heads and beat enthusiasts are sure to enjoy. If you are a fan of Anticon, or just instrumental hip hop in general, you have to get this album. Muted is one of the dopest releases I have heard in a long, long time. And if you like this album, definitely check out all of his other albums, as they are equally enthralling.

Tracklist

Cannibal Ox: The Cold Vein (2001)

noreply@blogger.com (tee. ess.) — Wed, 05 Mar 2008 16:50:00 +0000

::: Once in a while you come across an album that is truly one of a kind. The music isn't recycled, the flows are unorthodox, and the atmosphere is otherworldly. The Cold Vein, by Cannibal Ox, is an exemplification of unconventional. I would describe the album as sounding as though it was from the streets of Harlem, circa 2120. As if Vast Aire and Vordul Mega were frozen in time, only to be revived along side producer El-P, who uses his old school turntables to scratch the sounds of tomorrow. The vocals are rough and gritty, with an emphasis on abstract wordplay and aggressive verbal assaults. Vast Aire has a delivery unlike anyone I've heard before, where his slow and almost offbeat vocals highlight the chaotic nature of El-P's production. Vordul Mega is a nice accompaniment to Vast's elocution, as his monotone voice helps to balance out the sound. Overall, this album is not exactly what I would call "user-friendly," but it is one that is innovative, unique, and ahead of its time. I suggest listening to it a couple times through before making a judgement. Once you get used to Vast Aire's flows and El-P's production, you will presumably understand why The Cold Vein has been critically acclaimed since its debut in 2001. Definitely Recommended.

Tracklist

Atmosphere: God Loves Ugly (2002)

noreply@blogger.com (tee. ess.) — Wed, 27 Feb 2008 21:48:00 +0000

::: So I figured I would do a post about this album for those who might not have heard it before. God Loves Ugly, by Atmosphere, was actually the album that got me into underground hip hop. I first heard Slug and Ant at a tattoo shop, with the now familiar rhymes of a track called "Trailer Park Chicken" playing over the stereo system. I asked the artist who was playing in the background, and he said "Atmosphere, man" like I should have already known. The next day I went out and purchased God Loves Ugly, and from then on I was hooked. But I'm not trying to bore you with consequential details, I am just giving the context in which my eyes were opened to the world of underground, intellectual, and independent hip hop. God Loves Ugly showed me that there was more to rap than the banality of the "gangsta" lifestyle. I had no idea music like this even existed, let alone there was an entire subculture of independent hip hop artists that had been making music for years. Needless to say, I never looked back, and Atmosphere is still one of my favorite duos today. What makes God Loves Ugly so great is that it is a perfect blend of deep, emotional, and introspective lyrics, along with a sufficient amount of hip hop bravado. Slug lays down consistently solid verses about individuality, love/love lost, and social commentary among other things, while ANT creates the perfect setting with great production. God Loves Ugly completely changed the way I viewed hip hop music, and opened my mind to so many other artists and genres as a result. If you haven't heard this album, then stop sleeping.

Girl Talk: Night Ripper (2006)

noreply@blogger.com (tee. ess.) — Tue, 26 Feb 2008 17:08:00 +0000

::: Take every pop, rap, rock, and dance song you've heard in the last 20-30 years, mash them together, and what do you get? Obviously, Night Ripper by Pittsburgh, PA native Girl Talk. This is one of the best party CDs that I have heard in a long time. The album is a chaotic and glitchy hodgepodge of popular music from decades past, along with club rap tunes of more recent years. It is unbelievable to me how flawlessly Girl Talk combines all of the genres into something that actually works. For example, he successfully adapts a verse from "Juicy" by Notorious B.I.G. to the renowned piano of Elton John's "Tiny Dancer." The album is so full of these clever and perfect mishmashes that it would take forever for me to try to recount all of them. But I can almost guarantee that anyone who hears Night Ripper will undoubtedly be impressed by his skill and choice in songs. It is pop/dance/rock/rap/crunk at its finest.

Josh Martinez: Midriff Music (2005)

noreply@blogger.com (tee. ess.) — Tue, 26 Feb 2008 04:38:00 +0000

::: I guess I must be on a Canadian kick these days, because after I wrote my previous post about Classified, I came across another talented artist from up north named Josh Martinez. I really wish I would have heard of this guy earlier, because his album Midriff Music is really an excellent CD. It is one of those albums that just puts you in an upbeat and positive state of mind, like a carefree summer day. He has a distinct, almost raspy voice that works great with his flow style, which is a mixture of both rapping and singing. It is refreshing to hear someone bring a distinguishing style to the mic and combine it with catchy crooning. His subject matter is diverse, with his own views and interpretations on personal life and life in general articulated effortlessly over the boom bap percussion. All of the beats are done by a producer named Samix, who does an awesome job creating the backdrop for Midriff Music. His style is reminiscent of ANT of Atmosphere, and is highlighted on a couple of instrumental tracks throughout the album. The combination of Josh Martinez and Samix makes for a great album that is sure to put any listener in a cheerful and positive mood. Highly recommended.

Myspace Page

Classified: Boy-Cott-In The Industry (2005)

noreply@blogger.com (tee. ess.) — Fri, 22 Feb 2008 19:19:00 +0000

::: There is a common misconception here in the U.S. that hip hop is done best by those within our borders. And while I have agreed with that to a certain extent in the past, it's obvious that hip hop has spread around the world and there are plenty of talented MCs from abroad. Classified, of Canada, is one example of a foreign MC that not only has a dynamic flow but is also a meritorious producer and beatmaker. It's safe to say this his producing skills are good enough that he could easily make a name for himself on beats alone. The first track that I listened to by Classified was one entitled "Beatin It" in which he raps about the beatmaking process, while actually constructing the beat as you listen. It was an idea that really caught my attention and drove me to inquire more about him. I came across Boy-Cott-In The Industry, which is his second major release, and was very impressed. He has a unique view on the state of hip hop and doesn't simply fall back on the typical cliche topics discussed in many hip hop releases. He reflects on the troubles and triumphs of his life on "No Mistakes," reps his home country of Canada in "Meritimes," and displays his lyrical prowess on "Unexplainable Hunger" with Choclair and Royce Da 5'9". To top it off, all of his beats are world-class. Whether it's a high-pitched female vocal sample or catchy piano loop, you always know it's going to bump with Class behind the wheel. If you haven't had the chance to check out Classified, or are unfamiliar with the world of hip hop outside of the U.S., be sure to listen to Boy-Cott-In The Industry.

edIT: Crying Over Pros For No Reason (2004)

noreply@blogger.com (tee. ess.) — Thu, 14 Feb 2008 18:57:00 +0000

::: In one of my previous posts, for Tipper's album, I mentioned that the only person on his level as far as mashing tracks was an artist by the name of edIT. However, to clarify, I'd have to say that edIT is THE master of the mash-up/glitch-hop genre. Alot of the music that he releases is upbeat and chaotic, leaning toward "get the f**k up" party music. I really enjoy the high energy releases, but personally I prefer his 2004 album entitled Crying Over Pros For No Reason. In fact, it is definitely one of the best glitch based albums ever, yes ever, and is probably my favorite within that genre. Crying Over Pros For No Reason is different than his newer releases and mixes in that it is primarily downtempo and melodic. The entire album is heavily influenced by electronica and synthesized instrumentation, but you can sense the underlying hip hop mechanism that drives the sound. Each track is unique, with some sounding ambient and others more dark and foreboding. Amid these canorous harmonies are interspersed blips, glitches, and unique cadences that do not distract the listener, but enhance the auditory experience. edIT is a master at combining these elements, to the extent that the music has such fluidity that it almost feels liquidous. As each new sound is forced upon the listener like an explosion, it quickly fades away as if sucked back into the aqueous sonance. edIT manages to take the erratic, unpredictable nature of glitch infused music and turn it into something both alluring and progressive. If you haven't heard this album, or edIT in general, do yourself a favor and get Crying Over Pros For No Reason. It is truly one of my favorite albums.

1 Ashtray (4:15)
2 Ants (4:03)
3 Laundry (5:45)
4 Situps Pullups (5:16)
5 Dex (4:28)
6 Twenty Minutes (4:42)
7 Screening Phone Calls (2:48)
8 Mop Head (3:23)
9 Ltlp (3:15)
10 Mildew (1:03)

Spoonfull: Drawn With An Eraser (2007)

noreply@blogger.com (tee. ess.) — Thu, 07 Feb 2008 00:25:00 +0000

::: When I found out about Spoonfull, I was getting tired of a lot of the hip hop that's been coming out lately. It's not that the artists aren't talented, it's just that the same themes and subject matter are being recycled over and over so that too many rappers sound the same. I stumbled upon Drawn With An Eraser, which is Spoonfull's debut album, and it was like a breath of fresh air. The album covers a wide variety of topics, from relationships to social commentary to typical hip hop bravado, which Spoonfull lays down with the best of them. But it's the way he rhymes and the way he presents these ideas that makes him so great. His flow is distinct and idiosyncratic, and he just has a confidence and swagger on every track. It's one of those albums that gets better each time you hear it. Definitely get this album if you are a fan of underground hip hop, quality content and solid rhymes. Make sure you check out "A Girl Named Crown" on his Myspace page.

1 Drawn With an Eraser
2 You
3 Maple Leaves feat. iii
4 Walk Back
5 Backpacker
6 Hey Friend
7 Rivera Dance
8 Mood Swings With Torrey
9 A Girl Named Crown
10 Photo
11 The Sleepers
12 Lady Liberty ft. Gravity, Hibernation, Nimrod, and K-nice
13 H.O.M.E
14 Unfold
15 You Know The Name

Favorite Tracks: Drawn With An Eraser, You, Backpacker, A Girl Named Crown, Photo, You Know The Name

Lovage: Music to Make Love to Your Old Lady By (2001)

noreply@blogger.com (tee. ess.) — Tue, 05 Feb 2008 21:20:00 +0000

::: Just by looking at the title, I'm sure you can guess the overall theme of the album. Music to Make Love to Your Old Lady By is produced by the infamous Dan the Automator, under the guise of "Nathaniel Merriweather" with Kid Koala on turntables. The beats sound like typical Dan the Automator (downtempo, lo-fi hip hop), but are crafted to suit the sensual and dirty vocals of Mike Patton (Faith No More, Mr. Bungle, Peeping Tom) and Jennifer Charles (Elysian Fields). Together they form Lovage, one of my favorite one-album collaborations of all-time. Music to Make Love to Your Old Lady By is hard to classify, in that it takes elements from cheesy r&b, hip hop, and lounge music (among other genres). For the most part the album is tongue-in-cheek, but it doesn't come across as a comedy album. I'd say it's part poking fun at lounge music and r&b, and part paying homage to them. Mike Patton's singing is hilarious at times, as he is a bit overly dramatic and cliche, but it fits with the musical style of the album perfectly. Jennifer Charles has probably the sexiest voice I've ever heard. She reminds me of an old-school lounge singer, but more sultry and seductive. Both Mike Patton and Jennifer Charles go a little over the top in their renditions of the genres but it all fits well with the beats of Automator and Kid Koala. So if you like any of the artists involved I'd definitely suggest you check this out. Though it has a sarcastic feel to it, I still think it's a great album. And next time the mood is right, remember the title...

1. Ladies Love Chest Rockwell
2. Pit Stop (Take Me Home)
3. Anger Management
4. Everyone Has A Summer
5. To Catch A Thief
6. Lies And Alibis
7. Herbs, Good Hygiene & Socks
8. Book Of The Month
9. Lifeboat
10. Strangers On A Train
11. Lovage (Love That Lovage, Baby)
12. Sex (I'm A)
13. Koala's Lament
14. Tea Time With Maseo
15. Stroker Ace
16. Archie & Veronica

Devin: The Dude (1998)

noreply@blogger.com (tee. ess.) — Sat, 02 Feb 2008 04:54:00 +0000

::: Back in high school, before I discovered underground hip hop, I listened to a lot of gangsta rap. I had the subs in the trunk, always riding around Wichita bumping as loud as possible. Basically, the harder the bass hit the better. During that period my favorite rapper was Devin the Dude, and he is still one that I listen to today. What makes Devin so dope is the fact that you always know what you are gonna get: weed, beer and bitches. No talk about guns, murder, or selling drugs, just feel good flows about drinkin,' smokin' and gettin' laid. Simple as that. But Devin has a style about him that is totally unique and entertaining. The Dude is his first album, and provides an intro to what makes him who he is. Hailing from Houston, Devin has a southern kind of style that doesn't sound like anyone else I've heard before. And even though he raps about pretty much the same things throughout the album, it doesn't get old. Along with his hilarious rhymes and take on life, he sings as well. All of the choruses are performed by Devin in his distinct southern drawl. So if you are in the mood for a laid back album to smoke or drink to, just pop in The Dude and prepare to bob your head. Check out his album Just Tryin' Ta Live also. If you go to his MySpace page, be sure to listen to "Doobie Ashtray." It's a classic.

Favorites: The Dude, Sticky Green, Do What You Wanna Do, Mo Fa Me, See What I Can Pull, Write or Wrong, Boo Boo'n, and Show 'Em.

Tipper: Tip Hop (2005)

noreply@blogger.com (tee. ess.) — Fri, 01 Feb 2008 03:14:00 +0000

::: To start, it's hard for me to put into words how dope this album is. Since Prefuse 73 blew up and has gotten a lot of exposure, it's more and more common to see new "glitch-hop" artists coming out of the woodwork. It seems to me that most of these artists are coming from a more hip hop oriented background, and use influences of electronic music to enhance their sound. In the case of Tipper, it appears to be the opposite. Tipper's releases prior to Tip Hop (go to the music section to listen) were more along the lines of ambient, breakbeat and IDM, where in this album he created his own version of electronic-based hip hop (hence Tip Hop). Not only did he produce all of the music himself, but he also does his own scratching. And this is not just some half-assed attempt at scratching and mixing... Tipper is a pro. The scratching is so flawless and fast that I've had a person tell me he thinks it was done on turntables then pieced together on a computer, because it's just that good. Along with the amazing scratching, there is a constant barrage of glitched-out synth instrumentation that I can only describe as organized chaos. The only person that is on Tipper's level as far as impeccably mixing and mashing is edIT, who I will mention in a later post. Tip Hop has a few guest appearances from rapper Epcot, whose flows fit perfectly with Tipper's volatile style. To try to get more specific with how this album sounds would just be a disservice to Tipper. So please, go buy this album. You will not regret it. If you like it, give his other albums a spin as well.

01		Tepid Bile
02		Ruck ft. Epcot
03		Tip Hop2
04		Crimp
05		Paperthinreality
06		Learning Is Remembering ft. Epcot
07		Run4Cover
08		Gong Show
09		As Thick As You Can Quink
10		Dead Pixels ft. Epcot
11		Pins & Needles
12		Grubby Weasel
13		Flitch
14		Fleas And Itches
15		Primordial Soup
16		Ton Of Brix
17		CycleswithinCycleswithin
18		Ruck (unmixed) ft. Epcot
19		Learning Is Remembering (unmixed) ft. Epcot
20		Dead Pixels (unmixed) ft. Epcot

P.S. "Ruck" featuring Epcot is insane.

Leaf: Made Into Itself (2005)

noreply@blogger.com (tee. ess.) — Thu, 31 Jan 2008 04:13:00 +0000

::: I came across this album working for KJHK 90.7 in Lawrence, when I was doing the HipHopHyp show. I am a huge fan of instrumental hip hop, and at the time I was constantly searching for new artists to play for my show. I stumbled upon Leaf and decided to check it out. To this day I am amazed that Leaf has managed to fly under the radar in the instrumental scene. Made Into Itself is a downbeat masterpiece in my opinion, where Leaf utilizes unique samples from all genres and some of the dopest drum beats i've heard in a while. This album has a dark overall vibe, but Leaf manages to not make the album feel too dismal or depressing. I guess I would compare their style to DJ Krush (i.e. Jaku, The Message at the Depth) or some of the more recent Anticon releases (Odd Nosdam, Jel, DJ Mayonnaise). Leaf tends to use samples from instruments of other cultures and countries, in addition to the more distorted synth sounds characteristic of some Anticon releases. Perhaps my favorite part about Made Into Itself is the incorporation of spoken word that is both deep and insightful. Leaf doesn't chime in with these words of wisdom too often, but when they do it always makes me stop and pay a little bit more attention to the music. I recommend this to fans of instrumental hip hop, or just anyone who can appreciate good quality music. With this combination of great samples with thumping bass lines and drumbeats, it's hard to go wrong.

Here's a quote from "Lounge Dealers"

Intent of those will not be shown to you. Television has made the planet a global village. Others' trials and tribulations have become my concern and abandon in the same breath. Everyone has their own god, their own carbon-copy religion. You wave a banner that reads "praise the one true god," but standing behind you in the commotion I think you want me to worship a dog. And now I hate you and your views for no apparent reason. All religions are based on factual intent, but we don't know how to apply the religious ideas to contemporary life. Every faction has myths, all myths teach you to go inwards. I watch Star Wars like my mother reads to New Testament. It is the new myth. Faust gives us Mephistopheles, Lucas gives us Lord Vader. He is the embodiment of man struggling with machine. The symbiotic relationship made of constricting circuitry and empowering anonymity. Machines help us fulfill our image of what the Earth is, and what we want it to be. But if the marionette is heavy enough, unexpected movement will carry the puppet-master's hand against his will. Progress without permission. The eternal absolute struggle surfaces. It is said that Eisenhower went into a room full of the first supercomputers, and put a question to the machines. Is there a god? They all start processing, lights flash, magnetic wheels turn... and after a while a voice says... "now there is."

I had to listen to the track and type that as I heard it so... you're welcome.

Shpongle: Tales of the Inexpressible (2001)

noreply@blogger.com (tee. ess.) — Tue, 29 Jan 2008 21:47:00 +0000

::: I first heard this album about 4 years ago when I was living in Lawrence, KS. At the time I primarily only listened to hip-hop, and didn't really have any interest in electronic music. A friend of mine who was really big into electronica told me about Shpongle, and since that day I have been a huge fan. Shpongle is a duo of talented musicians, Simon Posford and Raja Ram, who teamed up to create some of the most amazing cross-cultural psychedelic music I have ever heard. On Tales of the Inexpressible, Shpongle incorporates all different types of music from around the world and fuses them in to a cohesive whole. At times it leans toward psy-dub or more downtempo influences, and others it is almost an upbeat dance party. However, the main vibe you get from the album is that it intends to facilitate a personal psychedelic experience (be it a "natural high" or chemically induced). One track in particular, "A New Way to Say 'Hooray!' begins with a vocal sample of the legendary psychedelic guru Terence McKenna. He references his experiences with hallucinogens, affirming that they break down mental barriers and give one's consciousness a "new way to say hooray." All of the tracks flow nicely from one to the next, and none of them seem overly similar or repetitive. I recommend this to anyone who has an open mind when it comes to music from other parts of the world, and enjoys psychedelic-influenced vibes. Sadly, Shpongle released their final album in 2005 entitled Nothing Lasts... But Nothing is Lost (another reference to the late Terence McKenna). I suggest you get that album as well, but Tales of the Inexpressible is my personal favorite.

My Favorites:

Star Shpongled Banner :: An example of the more downtempo style tracks on the album, "Star Shpongled Banner" starts off with a distorted and unintelligible sample of someone talking, and fades into a heavy bassline and melodic vocals. The beat is highly dub influenced, and is accompanied by small piano parts and the beautiful flute playing of Raja Ram. Most of the tracks on the album feature Raja Ram, who adds effects to his instrument to enhance to overall style. As the song builds, more electronic/synth instruments are added, and by the end the tempo has sped up to a more upbeat pace. What started as a psy-dub track ends as an upbeat almost psy-trance anthem accompanied by chanting group vocals. Highly recommended.

A New Way to Say 'Hooray!' :: I mentioned this track above, and it is another personal favorite. It is difficult to try to explain what's going on in a Shpongle song because so much is happening, and I can't always tell what all instruments or sounds are being used. As with most of their other tracks, A New Way to Say 'Hooray!' incorporates a dub-style bassline with dramatic chanting vocals and other synthesized melodies. What makes this song a little different are the various samples from Terence McKenna, which are all about psychedelics (and are fittingly distorted with effects). Makes you feel like your mind is expanding, even if you aren't tripping...

Aesop Rock Meets Portishead: Rockhead EP

noreply@blogger.com (tee. ess.) — Sat, 26 Jan 2008 02:05:00 +0000

::: As an avid Aesop fan, I have made it a personal quest to find all of the music he has released to date. His unique style is one that never grows old. However, I wasn't a huge fan of the Bazooka Tooth album (though it was still artistic and innovative). That was, until I heard the Rockhead EP by J. Kingz. In a seemingly odd combination, J. Kingz fuses the avante-garde musings of Aesop with the beautifully eerie downtempo music of Portishead. And this is not just your typical mash-up or a sloppy slapping-together of two opposing styles and genres. J. Kingz blends the two equally inspiring artists into something that sounds totally unique. Each beat and vocal sample taken from Portishead is chosen to suit the tone and mood of the flows laid down by Aesop (courtesy of Bazooka Tooth). Not to take away from Aesop or Portishead in their original forms, but J. Kingz gives the selected tracks a whole new feel and vibe. I highly recommend this to any Aesop Rock and/or Portishead fan, not as a replacement for the artists' original works, but as an excellent tribute.

Personal Favorites:

TRACK THREE :: Aesop is accompanied by fellow label-mate EL-P on a track that gives their history and interpretations of the underground scene. EL-P just rips this track, rapping about getting his start in the business and building the Def Jux label in the face of naysayers and critics. Aesop follows with insight and tongue-twisting wordplay, as the hard hitting distorted beat of "Over" thumps along with plucked strings.

"You don't innovate because you can't innovate. It's not a choice, despite what you might tell your boys. Keep your identity crisis under the table, I always know who I was and I'll always be more famous"

TRACK FOUR :: This is probably my favorite track on the EP. The synth melody of Portishead's "Roads" is fairly basic, but it's paired with slow-building violins and a steady beat. Beth Gibbon's vocals on the chorus make the song feel both triumphant and somber at the same time. Aesop's subject matter on "Babies with Guns" creates a dark, almost disturbing feeling, with lines like "Nowadays even the babies got guns. Diaper snipers having clock tower fun. Misplace the bottle might catch a bad one. Have a mid -life crisis when your ten years young." The combination of powerful abstract lyrics and haunting instrumentation makes for an excellent song.

"if the jesus piece around your neck is bigger than your pistol
it makes homicide okey dokey and your god will forgive you
just show the saints at heaven's gate you should be on the list
i hear he overlooks manslaughter for a tattooed crucifix"