tisdag 23 juni 2009
glöm runkbaset.blogspot.com och brytburken.blogspot.com, nu finns allt på
That's right folks, everything is moved to
See y'all there!
torsdag 18 juni 2009
tisdag 16 juni 2009
Force Tracks releases the ideal meditative urban music. While ambient, drone, noise is the typical soundtrack for sinking into the void of contemplative nothingness, the dubbed-out tech-house and digital disco that Force Tracks has specialized in means meditation in movement, it means contemplating when moving through squares, stores, parks, crowds in streets, it means the increased perception of the urban landscape when riding buses and trains with headphones. House music, generally bouncing along at around 120 bpm (which equals the heart rate of an excited human body), becomes the city's pulse.
This is not the same landscape as in the futuristic, industrial decay of Detroit, nor the deep bunker dubs of Basic Channel. This is not the wastelands. It is more affirmative than critical in relation to the modern urban landscape. That comes from a technological paradigm, from the fact that we are listening to laptop-techno, dance music that puts the best elements from IDM and glitch upon a finely mechanized funk; the analog assassins have grown up. The Birth Of New Life has become adult. Some days that feels like a good thing.
måndag 15 juni 2009
I want to thank everyone who has pointed me towards this name in the past. With time you get to the important things in life - whether it be books, movies, or music - and then it all makes sense. I rarely listen to mixes (I prefer the fully physical live situation, with people moving mechanically around me; or perhaps I just have too short attention to span), but when it is put together this brilliantly, it is visionary funk in its purest, most beautiful form. It takes you places never seen, never before imagined.
Long live modern mythology, mass movements, motherships, minimal meditation, man machines, Motor City.
"Robert Hood makes minimal Detroit techno with an emphasis on soul and experimentation over flash and popularity."
Released last year, Maximum Strength sounds much better than what an artist's 21st album should have the chance of doing.
But if you feel hiphop with reggae is played out (I don't), maybe you should pass on these.
söndag 14 juni 2009
Fredagen den 26e juni slår vi upp portarna för en ny drum n' bass klubb här i malmö. Stället är Bodoni precis bredvid KB på bergsgatan. Om den här kvällen går bra kommer vi fortsätta att köra en kväll i månaden för att erbjuda malmös dnb törstande skara ett vattenhål att gå till.
Först ut har vi tagit hit vår gode vän Phono som står bakom Leet recordings. Som alltid utlovar han ett set med en massa nya grymma dubs blandat med klassisk dnb. Warm upen står Southern connections troopers Haywire och Camonition för.
Kom dit och supporta!
Bodoni, Bergsgatan 20
Efterlängtat. Malmö är törstigt!
fredag 12 juni 2009
Watching Flow TV's special on Big Pun got me listening to his classics again.
Big Pun was mad charismatic, made better battle raps than anybody, managed to pull of some OK club songs, penned introspective and relationship songs without making a fool of himself, narrated great storytelling tracks, and even dropped powerful political comments. And he was the illest lyrcially, ever. He seperated himself from other technical monsters, such as Canibus, by always keeping the multisyllable madness, the scientific, hyper futuristic lingo deep within the pain and struggles of his everyday life. It is there for a reason, not for just for showing off.
Let us look at often quoted rhyme from his first album. Being in need of money, Fat Joe and Big Pun have agreed to do a quick job for the mob. Everything seemed to go be going well, but soon they will discover something about the people they left "dead in the middle of Little Italy":
carry his weight and record a catalouge as deep as those of Scarface, Cormega, Ice-T, KRS-ONE, Tupac Shakur, Kool G Rap or Rakim, he might have been just that.
At times Big Pun preferred to spit that undilluted street venom so very few artists are capable of producing these days. Besides being the most technical, he was also one of the most hardcore rappers ever. Proof below; Pun at his rawest, ugliest, at his most obnoxious and ignorant.
While it surely is wise to pay special attention to what kind of people the new president puts in his government (as we saw in the documentary mostly bank people, members of the Bilderbergs and The Trilateral Commision, leftovers from the Bush administration, even Henry Kissinger (of all people) as an advisor), Jones' extreme emphasis on certain people and secret organizations does the whole thing a disservice. Conspiracy theory does not make you feel like the world is in our hands (which it really is), but in the hands of a few very powerful men. His dada-like gusto and ability to dig up interesting factoids should be acknowledged, but his analytical tools need to be sharpened.
What I gained from watching this was mainly a deeper respect for KRS-ONE (who stops by to give his two cents on the new administration). He is one of the few rappers who has had the balls and the intelligence to critize the first black president. His message: "Don't get caught up in the emotionalism of Obama!"
Kris is still completely on top of his game, spiritually profound and verbally razor-sharp, having stayed relevant for more than 20 years, releasing more than 20 albums (Pick It Up form the youtube-clip sounds pretty dope, Maximum Strenght needs to be looked into), and succeeding with seemingly impossible tasks, such as incorporating dancehall and vegetarianism into the boom and the bap and still keeping it one hundred percent hardcore. Twenty-two years after Criminal Minded, he still smacks you over the head verbally. If it is one artist I would like to see live, it would be the Blastmaster.
Now what Alex Jones really should do is record an album with the God, supplying the anti-governmental motivation speeches and creepy electronics backdrops that we are used to from his movies to The Teacher's most politically explicit verses.
KRS-ONE f. Truck Turner - Bring It To The Cypher (prod. by DJ Premier)
Saul Williams f. KRS-ONE - Ocean Within
KRS-ONE - You Thug (prod. by Marley Marl)
KRS-ONE - Sound Of Da Police (Showbiz Remix)
"go and tell ya momma i took a bite outta ya bum..."
tisdag 9 juni 2009
Together with other genius innovators such as Kurtis Mantronik and The 45 King, he is a half-forgotten (extra obscure perhaps "because he preferred to work without contracts", and so mostly "did not receive credit for his production") master architect of this rap music thing. These people were the Premiers and Pete Rocks of their generation.
"Paul C panned the record, then he just flipped out on the programming. It was crazy.” Extra P says, “It was crazy” three more times and grimaces like it’s so good, it’s McNasty.
Swedish skwee-masters Flogsta Danshall are coming to battle Finnish skwee-masters Harmönia...
Tom Hansen, who "will be playing a 1 hour tribute set with strictly The Advent tunes"...
Swedish legendary performance duo Guds söner... it's gonna be real interesting to see what they'll bring to the table...
And more dubstep!
söndag 7 juni 2009
fredag 5 juni 2009
onsdag 3 juni 2009
"Vexations is a noted musical work by Erik Satie. It consists of a short chordal passage and a bass line which is repeated twice in each repetition of the piece. Satie recommends on the score that 'To play this motif 840 times in succession, it would be advisable to prepare oneself beforehand, in the deepest silence, by serious immobilities.' While the 840 repetitions aren't obligatory, many artists have followed the enigmatic suggestion and played the piece with many repetitions."If you loop something it changes. The sounds grow. Repetition is difference. "You can't step into the same river twice", as Heraclitus put it, to which Chuck D responded, "You Can't Stop The Bum Rush". What a brother know?
"The work was first played in public the requisite 840 times, by a team of pianists: John Cage, David Tudor, Christian Wolff, Philip Corner, Viola Farber, Robert Wood, MacRae Cook, John Cale, David Del Tredici, James Tenney, Howard Klein (the New York Times reviewer, who coincidentally was asked to play in the course of the event) and Joshua Rifkin, with two reserves, on September 9, 1963, from 6 p.m. to 12:40 p.m. the following day."
måndag 1 juni 2009
Is it just me, or does B-Real just get better with time? Making music with La Coka Nostra must have made him sharpen his swords. The Chef sounds hungry, so they blend together nicely, just like Wu and Cypress did on Temple Of Boom (which in my opinion still ranks among the most solid rap albums ever).
Industry Shakedown (and some bonus collabos).
Freddie Foxxx feat. M.O.P. - The Mastas
Freddie Foxxx feat. 2pac - Killa
Freddie Foxxx feat. Kool G Rap - Cook A Niggaz Ass
"Där jag växte upp på 1960-talet fanns det vuxna män som vi ungar såg upp till. De flesta var knegare och kunde umgås med ungdomar på fritiden utomhus. Om någon gjorde något dumt tog de tag i det själva. Kan inte minnas att någon ringde polisen. Dessa vuxna ser man inte längre. Ungarna är vilsna. De som rör sig på stan eller över förortstorget på kvällarna är helt andra män med andra värderingar. De "skyddar" småkillarna på sitt sätt och det kan jag förstå. Vem skulle annars göra det? Föräldrarna som sitter hemma framför sin TV? Fältassistenterna som inte längre finns där ute? Det är en tuff värd att växa upp i när vuxna sviker."
"Mycket av problematiken med kriminalvården är narkotikalagarna.
Dels genom att de hårda straffen för narkotikabrott överbelastar fängelserna och driver upp kostnaden så att vi inte har pengar till en vettig kriminalvård för andra kriminella. Och dels genom att illegaliseringen av drogerna skapar oerhört mycket annan brottslighet som rån, stölder osv.
Problematiken fanns inte förrän politikerna i Nordiska Rådet under inverkan av USAS president Nixon började driva upp straffen för narkotikabrott. Dvs vi har skapat huvuddelen av vår kriminalitet och våra straffade genom att anamma amerikansk narkotikapolitik."