Que Fresco - Que & Mike Fresh

Dunno who they are or where they came from (all I know is Mike Fresh guested on a Zuse tune this year) but this has got instant classic written all over it. It's a rap mixtape that's totally of it's time ie. not that dissimilar to their contemporaries except they nail every track with total conviction (hey that's bloody rare in the rap mixtape scene) and bring their own shapes and flavas, particularly their singing. Que & Fresh keep it tight with twelve tracks at 40 minutes. I reckon that's about the perfect length for any type of album. Keep in mind Illmatic by Nas ran at this length. Unlike the previously reviewed Kool John Presents... $hmopcity, this tape does have djs the hood rich monopoly people and such. I'm so used to misogyny, casual violence, homophobia and whatever else in rap, I don't know if their song Gas Station is racist or whether or not to give a shit? It's sung in an Indian accent and is sort of about running a gas station. For all I know Que or Mike might be of Indian heritage. People still rate the film The Party with Peter Sellers so who knows? Apu in The Simpsons - Is anyone outraged by that stereotype? The Indian guy who just served me at the Petrol Station, does he care? Anyway that song is so damn catchy it could be a novelty hit which could destroy their career but then again the world needs one hit wonders. Doncha think there's too much longevity in pop now? GaGa, Robbie Williams and bloody Beyonce should have fucked off by now. Longevity was for Frank Sinatra, Bing Crosby and Neil Diamond. I don't know if I get what Que & Mike Fresh are on about on every tune but hey I love Young Thug, what's he on about?  

Uno Dos Tres opens the mixtape with talk of molly, strippers, designer spex and something about being a pimp like Johnny Depp? Hooks and eerie synths galore. Ahora is some kind of homage to Speedy Gonzalez and rapping about splitting an avocado which could be about guacamole or sex, perhaps both. The 'Ahora' chorus which is sung has a brilliantly strange and irresistible melody What Part Of The Game is a sledge aimed at rappers who sell out and sycophants who claim to know you when you become someone. More hooks, more catchy tunes. Yes Men follows the former's themes and this is all played out over a minimal askew gamelan sample and awesome spooky organ sounds. By The Way claims to be a hit and its off kilter ratchet/trap plus the 'By The Way' hook should make it one. Next it's the aforementioned Gas Station which is sung in poptatstic fashion. This is the kind of song you wanna learn all the words to, just because you love it so much. Tricky's all about flippin a brick er..I think that's selling like a key of cocaine or is it money laundering? I dunno I ain't no gangster. The bpm count is up this one, it's fast and clever. These guys don't mess around, they get in and out quick smart with no dilly dallying. Dope Boy Dress Code is a song with rapping and is quite possibly the tune of the year along with Ahora. This is so addictive. Que & Mike have incredible pop smarts. These guys are future stars if they aren't already. Oh My God is more hooks rapped and sung (is that a little two part harmony?) with wicked beats, I love that symphonic drum fill. You gotta love songs about food. Soul Food's about 'damn good chicken, damn good greens, damn good cornbread, damn good beans.' all sung in a scrumptious manner sprinkled with little mentions of molly & lean here and there. FKI's on the beat on the final track I'm Tired and what a beat with these strange piano rolls and like a mental octopus drum machine. Toward the end a dj yells 'another mixtape masterpiece man!' Well that statement is hard to disagree with.

You Might Also Like - eMMplekz

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Kool John Presents...$hmopcity

Now somehow I missed this one a couple of months back. This could very well be the mixtape of the year.  Kool John's part of the Bay area posse HBK Gang. So there's plenty of his mates here particularly IAMSU! as well as Skipper, Sage The Gemini, Jay Ant, P-Lo, YP $poelstra (who's also in contention for mixtape of the year along with Skipper), Dave Steezy, Young Bari etc. This is a hell of a gang with such high quality tunes and productions. This is more like a proper album with no dj throughout, which seems to be a trend in mixtapes. I know it's on i-tunes as well as LiveMixtapes but I don't know if it's made into to physical form.

RNS is a prime example of ratchet's deceptive simplicity with its claps, heys, classic 80s bass and little eerie piano refrain along with laconic yet catchy singing and raps. Wobble is a standout in a tape full of highlights. Horror piano, anthemic strings and a banging hook, would surely make Wobble a possible number 1 on the hit parade. Next Day is about girls, being purped up, having too much cash etc. Okay is a haunting tune with a menacing lyric delivery and a killer bassline. Scary and hair-raising! Just as I'm thinkin Okay is very John Carpenter/mid 90s Memphis the next tune is Smoked Out which contains a sample from Triple 6 Mafia's mixtape Smoked Out, Loced Out from 94. Layin Low In The Cut is a paean to smoking da weed with an insanely upbeat catchy chorus. Do Ya Dance is a sonic tour de force with it's weird manipulation of the background vocal sample, slowed deep frightful male voices, a female hook sung by Chi'ma and other queasy sonic detritus. Ready's keyboard is the most gorgeous sound I've heard this year making this one hell of a smooth sex jam, R&B in excelis. Bang Bang changes up the vibe from sex, drugs and materialism to that old hip hop chestnut violence, just to let us know not everyone's oversexed and chilled out on Lean, Weed & Molly. TBT has some incredible rapping from Sage & Show Banga about, you know, booty, coochie and woody's. Shmoplife Party closes proceedings with grim synths and the most mental bassline of the tape. It's an odd ode to hedonism. But it's a classic laid back party choon California stylee, a little reminiscent of prime Dre & Snoop. 

Sage The Gemini, IAMSU!, Skipper and YP $poelstra have all released excellent albums/mixtapes this year. In YP's case two excellent collections Heat Vol 1 & 2. Now you can add Kool John's $hmopcity to that list and this may be the best of the lot. This is a run only comparable to Wu-Tang's run of solo records from Tical to Ironman. High praise indeed.

Rich Gang - Tha Tour Part 1

I must admit I kept looking at this on Datpiff and wondered 'To download or not to download? That is the question.' It looked like it would be a bit like last year's Boss Yo Life Up Gang mixtape which was Jeezy, Doughboyz Cashout & YG. It had a few good moments ie. DJ Mustard's trax but the rest hasn't stuck with me, maybe I'll have another listen to it actually. Mixtapes are free and hey this has got Young Thug on it, so surely it's a no brainer plus Rich Homie Quan's Still Goin In Reloaded mixtape from last year was one of the finest. I finally downloaded it. I was enjoying it a lot, until I realised this phrase 'Rich Gang' was being drilled into my head, like every 15 seconds. This started to gnaw away at my brain to the point that 5 or 6 listens in I couldn't take it anymore and had to switch it off. It was a bit like havin someone with Tourette's Syndrome yelling 'Rich Gang' at you for over an hour! Hey Birdman I know it's free and all and I don't want to seem ungrateful but surely the point is to get us to listen to the tape, not turn it off. The 'Rich Gang' phrase was used to the point of overkill. Maybe less should have been is more in this case. Having said all that I was enjoying Tha Tour. Flava's got a great spooky theremin going throughout, makin it a hell of a tasty track. I Know It 's beat is a dub-meets ratchet vibe that's irresistible, surely it could be a hit single. Throw Your Hood Up had me going back to and reassessing DJ Mustard's neglected (by me) 10 Summers as it has a tune with the same title. Imma Ride, Bullet, Who's On Top, 730, War Ready and Pull Up also stood out at this point of listening.The rest was probably gonna grow on me but if I return to the tape, I fear, I might get pushed over the edge by the 'Rich Gang' chant. Which is a real shame. Maybe these tunes are elsewhere, or on i-tunes, without that repeated phrase. Hope so.

er....this wasn't on the tape! Tune of the year?
Only 2 subtle Rich Gang mentions.

Juicy J - Low

Just saw this. How old's Juicy J now? He's still rappin about rubbers! Nicki Minaj gives it up to her influences ie. Three 6 Mafia and southern rap in general but not for the first time she also appeared on J's 2010 comeback mixtape Rubba Band Business just before she became a superstar. Actually didn't she do a pre fame mixtape with Lil Wayne, another Southern rapper? She also used to call herself the female Weezy (aka Lil Wayne). Anyway Young Thug obviously couldn't make it to the video shoot and Lil Bibby looked like he needed to do a wee throughout. I love that minimal outro, that could go for another 15 minutes I reckon. I like....late contender for tune of the year!

Rap Avalanche

A Quick Squizz At Recent Rap and R&B

Just when I was starting to think 'gee it was all happening earlier this year in the rap, ratchet, trap and R&B zones, but what's happened?' I was going back to hardcore, jungle and speed garage etc. (Reynolds has more on breakbeat garage here, loving that Ruff Da Menace track 2 F In Ruff (So What)). Then a bunch of new releases appear! Mostly free mixtapes but some albums too.

Now this is something to get excited about. Houston's Beatking, creator of 2014's best mixtape Gangsta Stripper Music 2, teams up with Three Six Mafia's Gangsta Boo for Underground Cassette Tape Music. Who would have expected this collaboration? Gangsta Boo & Skinny Pimp did feature on Gangsta Stripper Music 2 though. Gangsta Boo along with The Scarecrow aka Lord Infamous were my favourite 666 Mafia rappers. Female rapping really suited that 90s Memphis style. It's funny because Beatking is one of the few rappers who sonically doesn't owe an obvious debt to Triple Six Mafia like so many current artists do. This is like Beatking goes on a 90s Memphis ghostride with Boo as his guide ie. this is some creepin shit. It's more Boo's game this one. Beatking's rave-esque Club Godzilla side is toned down slightly here but it shows he's versatile and willing to experiment. Gangsta Boo is in fine form here and hey I'm a sucker for anything reminiscent of the Memphis rap underground from the mid 90s.

Next is Ain't Nothin Bigger Than The B. King Kev turns up with Bread Winner Kane on this collaborative effort. Kevin Gates plays the sidekick to Kane on this mixtape which is weird and a bit wrong as he's the King. It's a bit like Elvis playing sidekick to Barry Mannilow. I don't think Kane is Kev's heir but there's plenty of kicks here although this tape is long and I mean bloody long like a Swans album. I was thinkin gee this tune MYB is great and a little familiar and it turns out it's from Kev's very own classic Stranger Than Fiction from last year. I don't really understand how mixtapes work, like how do they get paid, why are old songs reused? Who are these hood rich people? etc. Perhaps we could all edit this one down by about half.

Tinashe's album proper has dropped (what I'm sayin that now?!) after last year's mixtape Black Water. Aquarius contains the choice hit single 2 On. The thing is there aren't any other DJ Mustard productions here which was initially disappointing but I'm gettin used to it now. We've got some luscious tunes on this album and some that stray a little too close to the overtly but slightly bland pop side. She's at her best when it's post-millennial R&B, better than Beyonce and almost up there with Cassie. Tinashe's still at street level and is givin us the real edge that we want on All Hands On Deck which is v Mustardy ratchet. On one tune it sounds like Dave Gilmore shows up doing an absurd guitar solo(?).

Rome Fortune's back. He has the best album/mixtape covers in the game and this cover is probably his best so far. I'm totally lovin that beard too. For this mixtape he takes an opposite approach to his previous tape Beautiful Pimp 2 where he used only one producer, Cito, for it's entire 11 trax. On Small World he's got every man and his dog on production duties including Fout Tet(?). It's a testament to Rome's vision that this all hangs together so well and might even be as good as Beautiful Pimp II. A metal riff shows up on one tune and strangely doesn't seem that out of place. The pace has picked up a notch or two on this tape. There's even a song, ie. with singing not just rapping, Friends Maybe, which is a collaborative jam with I Love Makonnen. Rome Fortune is Atlanta's most intergalactically smooth dude, still doin his own thing, you know, haunted, intimate and whispered raps combined with trippy future hip hop.

*Haven't checked out the new ones for Gunplay, Lil B(?), Rich Gang, Key! & FKI, Que & Mike Fresh, The Church or Billy Idol yet. They all came at once! Well maybe I wasn't paying attention.

UK Garage With Simon Reynolds

*
"Double 99 and Gant are just pure classic speed garridge. Deekline is sort of 2step turning into breakstep (breakstep really not a good development in my opinion, with a few exceptions - although he liked to call it Nu Rave, Deekline - sort of starts to merge into the nu skool breaks scene which you may nor may not recall - Rennie Pilgrem and others that my memory fails to dredge up. Stanton Warriors were the big breakstep act as I recall. But all of it -- speed garage, 2step, breakstep, proto-dubstep like Horsepower Productions, proto-grime like Pay As U Go Kartel, Oxide & Neutrino, and So Solid Crew - could be subsumed under the rubric "UK garage". Which runs from about 1996 in its earliest stirrings through to 2003-4 when grime and dubstep broke off as separate entities - so that's like an eight year period of great music and ferment in the UK dance underground, but also spilling into the charts. "I Don't Smoke" was a hit single."

*This was left by Simon Reynolds in the comments box of the previous post. Seeing as nobody clicks on the comments box I've put it here, hope you don't mind Simon.

As I've said, this is around the time I got off the Hardcore Continuum. I Don't Smoke went to number 11 in the UK chart for DJ Dee Kline in 2000, the year after it's original release. Horsepower Productions feature prominently in that J Rolla Proto Dubstep Mix with 3 tunes. Nu Rave & Nu Skool Breaks are familiar terms as I would have tuned into radio shows playing this music at the time but obviously got turned off by it. This is also around the time (99) I stopped going to clubs. I gave 2step a go but I just couldn't get into it. As far as Grime went I didn't hate it but I didn't love it (like I loved jungle) either, I guess that's indifference or at least tolerance, if it was within earshot. Having said all that it seems I'm open to reappraisals as some Speed Garage, 2step & Breakstep are now seeping into my consciousness in a very good way.

Oh Boy - Fabulous Baker Boys
This is a beauty from 97.

Destiny - Dem 2
Also from 97 and heading into 2step
.

187 Lockdown - Gunman (Original Mix)
This is a "Tune" from 97 as well.

Breakstep Questions Answered

Is this strictly speed garage though or more like something on the peripheries of speed garage?

This is a question I asked on the weekend, on this here blog, in regards to these tunes- DJ Dee Kline's I Don't Smoke, Double 99's RIP Groove and Gant's Sound Bwoy Burial. As if in answer to this Reynolds posts a bunch of I Don't Smoke remixes and calls it a breakstep classic. I wonder if this is a sub genre named in hindsight? Was breakstep a micro-genre post 2-step pre Grime? Perhaps it ran parallel to 2-step in the nuum.  Anyway there you go.

What about this one Soundscape's Dubplate Culture? It's got a bit of everything hasn't it? The micro-genre geeks must have had a hard time with this one. Whatever it may be, it's a classic.

Scott Walker & Sun O))) - Soused

When??????

It's there in my files awaiting listening and it's been there for a while. I know I will end up buying it just like you used to in the olden days when Tilt was originally released in 1995. You know, where in exchange for some money you get a physical item containing sound. I'm at some weird crossroads though and I haven't got the nerve to put it on. Scott Walker has recorded 3 of my favourite LPs of the last 20 years, Tilt, The Drift and Bish Bosch. I have actually listened to these 3 albums a lot and his brand of obtuse existentialism, strange beauty and sense of the absurd usually doesn't disturb me. In fact I relish it (I'm about to listen to the 4 tracks by Mars on No New York for gods sake!). What's going on in my brain preventing me from clicking on Soused in my 2014 playlist? Don't worry 4AD you'll get your money, eventually. What am I afraid he might unleash? Maybe I'm worried it won't be any good due to his collaborators but as I've previously stated I don't hate them. Perhaps I think they're unsuited or too suited. Is it too soon? I mean Bish Bosch was only released in 2012! Should I look at it more as a side project?.... not the true follow up to Bish Bosch? Has the mystique dried up? It's called Soused! Will it be like a Cosmic Psychos album? I noticed a review at The Quietus and thought that might gently lead me into the album. I couldn't finish the article as it was the worst pile o shite I ever started reading in my life. I'm still none the wiser about anything! Stay tuned to see what my brain does next. Will I listen to it before it's time for the end of year polls? When will I shell out the cash? Will I even write a follow up post?

A comedy album?

Proto-Dubstep, Speed Garage & Recreations

Funny how much I'm loving this Proto-Dubstep Mix 99-03 from J Rolla considering I was off the hardcore continuum come Speed Garage, 2 step & Grime. I didn't really make it back until the rowdier/wobblier side of dubstep showed up in trax from Skream, Rusko et al. Even then I was only into a handful of tracks compared to the hundreds of hardcore/jungle tunes that I loved (they would be into the thousands now since my rediscovery/reappraisal of rave a couple of years back). I mean I liked Burial's 2 records and Kode9 & Spaceape's Memories Of The Future but was that dubstep? I had Burial more aligned in my brain with Hauntological/90s Berlin zones and and the later with trip-hop territory.  Maybe I'm loving this mix because the material is so unfamiliar and perhaps I didn't need to get off the nuum around the tech-step to speed garage time. Especially because I've been diggin this tune (below) I Don't Smoke, which is soo good. It starts off like something from those nutty scallywags Position Normal doncha think?

Oh and this from 97. 

er...and this from 97 and I could go on..... Is this strictly speed garage though or more like something on the peripheries of speed garage? I don't know but I like it. There's even reenactments of this style today, check below Hodgson's One Spliff which is hard to resist as it's so damn addictive (No pun intended. Or would it be better to intend that pun?). This one via Energy Flash.

Anyway back to J Rolla from London, not to be confused with J-Rolla from NZ, who has a hyphen. Rolla's got a great bunch of mixes over at Mixcrate of 90s hardcore and jungle which are worth checkin out and er... some boring dubstep ones but you don't have to listen to those if you don't want to. 

Reign - The Zombie Leader Is Approaching

Old skool German hardcore on Dance Ecstasy 2001 from 96! How good is that bass drum outro. A myriad of bass drum soundz...... Oh yeah!

And this....on the B-side. The mighty Skeletons March. How about that sinister and cold synth sound? Doooomcore! You know the score.

Rome Fortune - Beautiful Pimp II

I wrote this a while back but forgot to post it. This was released earlier this year.

Rome Fortune's Beautiful Pimp II is a great little mixtape. It's 11 tracks at just 30 minutes so there is no filler here and Fortune leaves you wanting more, which is rare in the rap cd/mixtape game. There are echoes of idylltronica, electro (remember the hip hop variety?), post-rave comedowns, trip-hop, ambient jungle, soul and vibraphone action. There are even hints of the jazz fusion end of drum and bass as well as downtempo soundz not unlike Throbbing Pouch era Wagon Christ. Beautiful Pimp II's got so much synth goodness you end up inside this smooth album's vortex and you don't wanna leave. It's digital like glass with no dirty samples. This aural soundworld is so crisp you feel it might crack at any second. This is one space age trip. Cito is on the beat throughout the entire mixtape making it so coherently flowing, like a proper album release and not just a bunch of tracks thrown together. Even when some scratching shows up it's so digital you don't end up in past hip-hop zones. Fortune's from Atlanta but he's definitely cutting his own path with his unique intimate laconic style. This is progressive future hop of the highest order.

New Ariel Pink

Just noticed this was released. It's taken from his new album Pom Pom. Sounds like The Byrds or an 80s jingle jangle facsimile. Not sure if that's a good thing or not yet. Slightly reminiscent of The Church at their 80s best, musically anyway.  Both Ariel Pink and Steve Kilbey are complete vocal and wordsmith talents incomparable to anyone really.

Rock's Carcass

"But pop and rock belongs at the end of the 20th century, in a structured, ordered world that has now fallen apart."

Paul Morley (via Retromania)

Whilst I believe this is true for rock I'm not convinced that this is the case for pop. Pop has had a pretty good run since say Britney's Baby,One More Time. Rock though that's another story entirely. Just the notion of a rock band seems antiquated doesn't it? It seems absolutely absurd that anyone would be hauling this old carcass around in 2014. Moribund ideas are still being thrown at us as if it's supposed to be authentic man. Surely we're all over and done with rock in the new millennium.

Ah...but herein lies a paradox. Our thinking might be ahead of our actions ie. our listening habits. I made a list some time ago of my top 50 albums of the 00s. There are 19 or so rock records. Grinderman, Eddy Current Suppression Ring, Rowland S Howard, The Drones, Yawning Man, Dungen, The Flaming Lips, Ooga Boogas, Boredoms, Deerhoof all of whom you would say were ROCK. Then there's the in between like Sun Araw, Fabulous Diamonds, Broadcast, Ducktails, Gary War, Lamborghini Crystal, Gang Gang Dance and Ariel Pink's Haunted Graffiti. I mean are that lot rock? In very broad terms you would have to say they were, wouldn't you? So actually rock hasn't fully finished for me in the new millennium despite thinking it's a rotting corpse. It has definitely dropped off in the 10s though with only Swans, Dave Graney & The Mistly, Ooga Boogas and Beaches appearing in my end of year lists. But hang on, then there's Human Teenager, Rangers, Metronomy and Peaking Lights! Are they rock bands? Sure they're not of the White Stripes variety but they have some roots in rock don't they?...or shhh.... maybe Post-Rock. I even thought I was done with psychedelia after Dungen's 2004 classic Ta Det Lugnt but what are The Focus Group's Elektrik Karousel and Belbury Poly's The Belbury Tales if not late in the epoch psych classics? Sure Belbury Poly aren't sitting in tour buses snorting coke off groupies breasts, at least I don't think they are (I kinda wish they were now). I can't think of one rock LP of 2014 that I'd rate although I haven't listened to Scott Walker & Sun O)))'s record yet (I'm psyching myself up for that).

Jeezy feat. Future - No Tears 

A Top Tune From 2014 

So rock's sun is finally setting but that doesn't mean, like Paul Morley, that I'm about to get into ye olde classical music. Current rap, ratchet, trap, bop, r&b/rap interzones, electronic music, experimental and pop still hold sway with me in 2014. As well as old stuff from soundtracks, library music, reissues/compilations (Soundway, Trunk, Finders Keepers et al.),Belgian, Dutch, British and German 90s hardcore (the dance music variety), 90s Memphis Rap to Bowie etc. I think the furthest I've gone back in time, music wise, is like the 30s and 40s with the blues and early electronics. I like the ye olde electronic music but I think that's my cut off point as far as classical music goes. I don't feel the need to go back centuries in time for my music needs. As a youngster I recall thinking by the time I was 40 I'd be a jazz connoisseur and right into my classical music phase but I don't think it's gonna happen. That's for other people. The Person I didn't become. In fact I think my tastes are becoming less sophisticated as the years go on. Rock'n'Roll was about instant gratification and mayhem and that's the way I still like it.

*Ha....I do own a copy of Switched On Bach which I rather like.

Books That Should Be Written

After reading David Stubbs Future Days I was left with a feeling of "Is that it then?" Perhaps it wasn't a book for me, I mean I knew all the records mentioned and the bands. I'd read most of what was in the bibliography. I didn't find out much new. This is not to say it's not a worthwhile book but maybe it's for new comers. Why didn't he write it in the 90s when Krautrock was Tres Hot? Perhaps he saw a gap had opened up in the market due to the never to be reprinted Krautrocksampler by Julian Cope. What it did make me wish for was a comprehensive book on German Post-Punk aka Neue Deutsche Welle like what Simon Reynolds did for British and American Post-Punk in his great Rip It Up And Start Again book. Stubbs covered a little bit of the NDW scene in a slight chapter towards the end of Future Days. Come to think of it there may be a German book on this topic from maybe 15 years ago (I have a vague recollection of this, maybe) but obviously it hasn't been translated into English, unless I missed it.

It got me thinking of some other books on music that are yet to be written. A definitive book on Australian Post-Punk would be a prime example of this. I'd also love to see a book on the mid 90s Memphis Rap scene. Information on that topic seems thin on the ground and somewhat confusing. There was an incredible amount of excellent music made in Memphis at this time, so shedding some light on it would be great. Is there even a book on 80s underground New Zealand music? Surely there'd be a market for that. I mean there's been like 3 books on the No Wave scene. A book covering Japanese music post Julian Cope's Japrocksampler would be great ie. Noise, Merzbow, the P.S.F milieu, Otomo Yoshihide, The Boredoms and whatever else happened. I could go on - Italian Soundtracks and composers, Belgian electronic dance music, a guide to Library Music or like a top 100, Gabber, Sweden's 1960s experimentalists Parson Sound and their following web of groups into the 70s etc. I always thought Simon Reynolds could expand his chapter from Rip It Up & Start again on San Fransisco's proto-post-punk scene and turn it into a whole book

Remember they used to do books on current cultural activities? Someone could probably do something on the topic of Atlanta Rap or the current state of music in general. Anyway just a thought......

Young Thug

Stop The Music

Tune!

Uh...Hold on to the love...wicked!

PCP Sub-Labels Mix

Here's a mix I only just discovered on the youtubes. I've road tested it and it goes well on me bike. DJ Djero's got a whole other bunch of mixes that look like they're worthy of checkin out as well. This one features Dr Macabre, Rave Creator, Pilldriver etc. Stuff from Power Plant, Cold Rush, Kotzaak Unltd. etc.

More Downer Euphoria/Party Hauntology/Nihilism

I'm not even sure I like this but it really captures that downer euphoria vibe so well (it hit me in the stomach) ala post Burial, Drake, DJ Mustard etc. This track/video is almost too much, too real, too sad/euphoric etc. The sadness in this video isn't hidden like it is other tracks, it's up in your grill. Mark Fisher would call it it (perhaps a crass version thereof) party hauntology. I really get the sense of the emptiness but also the necessity to keep going despite the pointlessness of it all. Isn't that nihilism?

Future Days Part 3 - Eroc

Not mentioned in Fututre Days: Krautrock And The Building Of Modern Germany by David Stubbs (well in the index at least I'm only up to page 327) is Eroc's classic Eroc 1. What happened there Dave? No lost Krautrock classics eh?.......

Funnily enough a band Eroc (Joachim Heinz Ehrig) played drums for during the 70s Grobschnitt get some coverage in the book for all the wrong reasons. Stubbs gave Limbus (another obscure act signed to Brain) a listen but failed to check this treasure out. Recorded between 1970 & 75 and released on Brain records in 1975.

Future Days...again.

Something is really irking me about the cover of Future Days by David Stubbs. It's the faux fadedness of the background colours. Should this book go with my mock 50s radio, my new retro toaster and my brand new football shirt that looks like I've been wearing it since the early 80s? Faux fadedness is something I've come to detest particularly in fashion, art and furnishings. In the case of Future Days it feels like a crass statement of "Yes these were once Future Days but... ha... now everything is old even the ideas and music contained within this book." The thing with this music, modernist architecture and some other Avant Gardes of yesteryear is that some of them still have a shiny futuristic relevance. I haven't seen a David Bowie book come out looking old already, so it does seem peculiar and something I'm surprised Mr Stubbs let slip by him. I would have had the cover as modern as possible in the spirit of the music being covered in this tome. They got the graphics and cover art sort of right. Musicians in 70s Germany weren't dreaming of shabby chic as the future though were they?

*Note to future editors of future editions: Fix up the future bloody cover.

Raven Felix - Valifornia

Happy to see this at DatPiff late last night. I don't really get the economics of music now though. She's givin this away so how's she gonna get the green she's talkin about? Or is this just a taster to an upcoming cd/download that costs money? Also I can't believe the sexist shit lady rappers have to still put up with ie. see comment "sorority girls will love it." Over at The Guardian this year one of their own writers was sexist, bitter and nasty about Iggy Azalea. Some of you patronising boys sound a bit threatened that 'oh no' a woman has got more talent than you.

Anyway back to the tape I dunno if there's anything as good as the original bangin Girl single from late last year/earlier this year, which turns up in remixed form here. Actually I bought that on itunes so I guess she's got some money to buy her groceries.. She adds some singing and a rap to Schoolboy Q's 2014 classic Studio as well on Valifornia. On 6 In The Morning Felix takes a line from Snoop Dogg's Gin & Juice in which she places herself as a character inside that song. She states "got my girls in the living room gettin it on and we ain't leaving till 6 in the morning." She even gets Snoop to guest on the tune. She's put herself in another song and re purposed it with a somewhat reclamation/feminist message. Snoop must be the most often re quoted rapper in rap. I assume it was he who said "I got my mind on my money and my money on my mind." originally (correct me if I'm wrong). I mean I still hear that phrase or some kind of rephrasing of that line almost daily in hip hop trax. Actually now that I think about it there was a white lady rapper, Lil Debbie or something like that, who also used that 6 in the morning lyric a year or 2 back.

Rustie - Green Language

Now, I paid money for both Skrillex's Bangarang and Rustie's Glass Swords back in 2011 because they were both awesome. I listened to Skrillex's new one, can't even remember the name of it now, a coupla times and thought it was shite. So there was no trip down to the record shop for that one. I was worried on the first 2 listens of Rustie's Green Language. I thought maybe it was a vibe migration thing, you know his time was up and we'd all moved on. And what are these bloody rappers doin on it? A few more listens in and I'm thinkin maybe I am gonna make it down to the shop for this one. I really wanna hear Raptor and He Hate Me in their full digital aural splendour. I'm lookin forward to that. I'm even starting to like the tunes with the raps. Can't imagine though giving that Skrillex album another go though. You win some, you lose some.

How good is that? Bringin back memories of listening to Glass Swords on train platforms and being unable to control myself in its blissfulness. It also made me think of other stuff from that time that I loved - Emeralds and their side projects etc. Might even pull out Bangarang.

Strange Collaborations

Well I've been noticing in the last few months some strange musical collaborations happening but this one has gotta take the cake - Scott Walker & Sunn O))). I mean I love me Scott Walker and we all know he's a little strange and a little cheeky but what? I think it's as strange as the pairing of Lou Reed & Metallica, no definitely stranger. I must admit I haven't listened to that and some people rated it quite highly? I mean I'm big on Lou and have been known to enjoy Metallica amongst friends ie. I never bought a Metallica LP in my life but my friends did and I didn't hate them. It's a bit like Sunn O))). I enjoy what I've heard on the radio but never bothered to investigate them any further (It's been in the back of my mind to check em out....but....). Maybe not quite as strange but Royksopp & Robyn? Now I can't think of the other ones that I've seen and thought what? Maybe though its a better collaboration if you are stylistically further from one another. Nick Cave & Kylie Minogue was superficially a bit weird but if you think about it they are both pop singers, entertainers, song and dance people. Now Kylie & Stockhausen would have been weird but probably not as weird as Cave & Stockhausen, at least Kylie would be considered electronic rather than rock. Now this all reminds me of French musique concrete composer Pierre Henry collaborating with British proggers Spooky Tooth, a bit weird?. Kate Bush & Peter Gabriel normal. Nirvana & William S Boroughs a bit strange but not really. 

Coldplay & U2, now that'd be fucked up! Only one band would have to turn up. Would you have The Edge from Coldplay or U2's Edge? What about Taylor Swift & Burzum? Pharell & Earth? Evan Dando & Diamanda Galas? That one kinda sounds like it might be alright, it's hard to know. Nickleback & The Wiggles? The Mrs offers Allanis Morrisette & Coldplay. You could play this game all day really and somebody probably already has on Twitter. Then there's the whole alive/dead thing. Nicki Minaj & Ian Curtis anyone up for that? What about Kermit The Frog & Townes Van Zandt? Elvis & Bieber?

More Bike Tunes 90s Stylee

This popped up on me ye olde iphone during a trip back from the doctor today and it sounded so good. I'm not sure I should have actually been riding a bike, now, come to think of it. I made it home in one piece I guess.

This too. That bass is well wicked man!

4 Eva Bloody - Young Thug & Bloody Jay

Hang on a minute....now this could be my favourite trak of the year. It's a demented anthem to god knows what! What a coupla of crackpot legends!

What I'm Diggin!

Antipodean reissue of the year without doubt! The long out of print Derry Legend from 1989. The best band to come out of New Zealand in my book. This was originally released on Flying Nun!? Although they seem to get written out of Flying Nun's history and most histories of NZ music actually. More on this later ie. a full write up, when I've fully convalesced. Check out these previous posts for Axemen genius.

Don't know much about this dude but this is some of 2014s best rap/ratchet. Apparently there's another volume.

King Kev's 2014 By Any Means is not as immediate as his Stranger Than Fiction from last year but I'm startin to really dig this a lot. What a fuckin talent! That voice! What a badass!

Lovin this. What a team Bloody Jay & Young Thug. Bloody Jay has a new solo one out as well, I can't keep up.

My favourite LP to listen to while me and my dog sit by the fire with our feet up. Hey I'm an adult! .......well sometimes.

Not Really Diggin

10s Hardcore continuum soundz. Hey I really enjoy Kid Lib but the rest I dunno?

???

A new Rustie album how excitement! Now, I'm not so sure. It's early doors yet though.

Ratchet & Trap Explained Part 2

"That description of ratchet doesn't really capture the stylistic essence of things like "Rack City" and all that followed it, though does it - "simple rhythms, kicks and claps, squelchy synth bass" - i'm not sure i can do any better, though! Deceptively simple, i think would be the first nuance i'd add. Mustard's tracks are like Dre's classic beats, in way -- not doing anything very flashy or obviously avant, but real groovy. harder than it looks, i'll bet. With Mustard, the signature features are the snare rolls with the paradiddle-like military feel, the HEY!HEY!HEY!HEY! Marine-regiment doing-drill chants, and, more recently, those re purposed and slowed-down 90s house licks and vamps."

This was left on the comments page of Ratchet & Trap Explained by the one and only Simon Reynolds. Now that's an explanation of Mustard & his ratchet. Onya Simon! To tell you the truth I thought Anonymous may have been him or some other such luminary.

DJ Mustard - 10 Summers

How Is He Going To Top This?

With this?

I don't know if he can top 2013's number 1 sonic document, his Ketchup mixtape, with his follow up 10 Summers. Judging by the little radio skits that contain nothing but past Mustard hits toward the end of this album. Where someone keeeps flicking the dial on the radio only to find old Mustard hits, I think he's already feeling his past as a bit of an albotross. Perhaps he's looking for a way forward or just something as classic as My Nigga, Rack City, I'm Different, Show Me, Paranoid, 2 On, Lady Killa, Midnight Run et al.

Part 2 coming up of my appraisal of 10 Summers. Once I've had more than a few listens. Stay tuned for the next episode of DJ Mustard's 10 Summers.

KRAUTROCK

Funnily enough I was listening to Faust and Eroc's Eroc 1 today and hello to make my bad days a little brighter here's David Stubbs and his book Future Days: Krautrock And The Building Of Modern Germany. There have been other good books on this topic of course. Particularly gonzo rock guru Julian Cope's KrautrockSampler, which is long out of print. Then there was The Crack In The Cosmic Egg by Steven & Alan Freeman which has also been out of print for some time but is a fabulous resource for the more obscure side of the genre. A scaled down internet version of this encyclopedia by the Freemans is available here in pdf form. Stubbs is of course a legend from the Melody Maker in the 80s. He wrote an excellent book a few years ago Fear OF Music about how modern music isn't given the same respect critically, culturally and monetarily as modern art is. Simon Reynolds really revs up the book with an astonishing  quote "Future Days does not capture Krautrock so much as unleash it. At long last the definitive book on the ultimate music." Now that's saying something. As I recall a highlight of the 90s Reynolds & Press book The Sex Revolts was a chapter on Can which blew my mind. The best writing on the German group Can ever or any other group for that matter. Maybe there's better to come. Stubbs seems to show up at  times in my life when I'm in bad health. There's a picture of me reading Fear Of Music on a hospital bed from a few years ago. It's like he knows when I need cheering up.

Any reason to play Can is a good reason.
You really need to listen to this LP as a whole.
It's Genius (and I hate that word's over use!).