stranger in a strange land.
 

As this is my first foray into this forum, I intend to use this journal as a record of my musical journey through such genres as funk, soul, jazz, rhythm and blues, and rap. I'll be tracking down obscure albums from all over the world and giving them a full listen, as well as some consideration and analyzation before I report them on mb.


Every album that I report will be brand new to me, so bear with me as I explore something completely new.

First off:


Track listing:

Brainville
Call for all Demons
Transition
Possession
Street Named Hell
Lullaby for Realville
Future
New Horizons
Fall off the Log
Sun Song


I've recently come accross the entire Sun Ra discography, so get ready for a lot of jazz reviews. This is Ra's first album and was recorded in 1956 in Chicago. It was originally released as "Jazz by Sun Ra", but was later retitled as "Sun Song" and re-released in 1967. My first impression is; wow, this **** is really good. I thought all Sun Ra's stuff was spacey and hard to get into, but this is pretty standard jazz fare. The horns are great, they play much more of a central role on this album than I thought they would, and Ra's piano work is pretty good on "New Horizons" and "Call For All Demons".

The standout track on this album has got to be "Possession", which has impressed me so greatly that it might be one of my favorite jazz tracks ever. It's got great drum work, and a real passionate feel to it that makes for an incredible listen. Ra's subtle sound on the keys doesn't diminish from the horns, which again lead the song. The melody swings and gets stuck in your head, and the brief explorations by the band at the end are great foreshadowing for future albums. I'm starting to think that the Arkestra could've got along well enough without Ra, but then I remember that he basically arranged and composed most of this stuff to complement his playing.

A relatively short album, "Sun Songs" also contains some darker songs. "New Horizons" especially caught my attention with it's slow, brooding melody. The hook is great, and the track really showcases the band's versatility.

Some more lively tracks include "Street Named Hell" and "Swing A Little Taste", both of which are upbeat and jumpy songs. What I love about these tracks is that Ra is able to capture the feel of a live jazz club in a studio setting. This isn't something that every artist can do, and I really think that Ra got it just right. I really enjoyed "Fall Off The Log", with all the sax/horn combinations firing on all cylinders.

This is, to me, a quintessential jazz album, as it encompasses swing jazz, smooth jazz, and a little bit of big band too. If I were to suggest an album to someone who is interested in jazz, this is a great one to get your feet wet. Hopefully Ra's subsequent albums can impress me just as much.

Wow, looks pretty good man. Nice work.

Great review, I'm thankful you posted it. I've officially been inspired to go find a live Jazz Club and to go get this album as soon as possible. Looking forward to more reviews in here.

About fucking time too. When you get your shit together you can produce a decent post or two! He is not obscure but I hope I see some Fela Kuti brotherhood here in this thread.

Gentleman Johnny is back. :)

Sun Ra's been on my list for a while, nice reminder and good review!

Your review made this sound so tantalizing. I'm not very seasoned in jazz but this sounds very interesting and I will give it a listen, thanks.

thanks for your support guys.

@lee - of course, i'm gonna go heavy on the west african music and the whole kuti family real soon.

Track listing:

Thick
Get Yours
Where Ya At
Way of Life
Day One
Hey Luv
Foundation
Champagne Thoughts
Ebonics (Premo Mix)
Drop It Heavy
Stand Strong
Weekend Nights
Thick (Rockwilder Mix)
Tribute

Alright, I have a confession to make. For the longest time I've hated the entire New York rap scene, with only some notable exceptions (Wu-Tang, MF Doom, Native Tongues Crew, etc.). I still think that Notorious B.I.G., DMX, Nas, and Bad Boy Records are too generic, focusing only on their fabulous lifestyles and how much money they have. This opinion might have been a result of ignorance on my part, but it doesn't really matter because anytime I've been recommended any East Coast rap that might been seen as "typical", I've absolutely abhorred it. For some reason or another I've always preferred rap from the West Coast or from the Midwest, but all that changed when I discovered the Diggin' In The Crates Crew.

Anchored by Big L, who is arguably the greatest MC to come out of New York City and has subsequently become one of my favorite rappers, D.I.T.C. features a conglomeration of the top underground NY artists of the early 1990s. Lord Finesse, Showbiz and A.G., Diamond D, O.C., Fat Joe, and Buckwild all contribute to this absolutely stellar album as well, and their performances have opened up my mind to NYC rap. It’s rare that an album of any genre impresses me as much as D.I.T.C.’s self-titled debut has, and it’s even rarer that I genuinely enjoy every track on album, a feat that D.I.T.C. has easily accomplished.

The album begins with “Thick”, a track with a killer beat and an even killer hook. A.G.’s opening verse is fluid and entertaining, but it’s Big L’s lines that really make this song. This song really embodies the idea that you should always start strong when organizing tracks on an album. Following “Thick” is “Get Yours”, a track that features rapidly alternating verses by Big L and O.C. that provide a raw and intense portrayal of street life in Harlem.

Third on the album is “Where Ya At”, tag team by Milano and Big Pun, who exhibits a flow that is both mellow and quick at the same time. His rough voice perfectly complements the verse he spits, one that revolves around him calling out fake rappers. This track begs replay after replay as it goes by so quickly that you don’t even have time to register is being said, but you still know it’s ill.

Big L puts in another quality performance alongside Fat Joe on “Way of Life”, and it’s this track that changed my perception of Fat Joe from complete disdain to begrudging acceptance. Likewise, it’s “Day One” that further fuels my transformation, as the entire crew sans Fat Joe puts in verses that verbally symbolize everything that NYC rap can be at its apex. The beat is sick, and is reminiscent of “Thick” with the marimba/xylophone sample.

“Hey Luv” is a brooding track by guest MC Milano and Cuban Link and has a beat that sounds like someone breathing into a telephone, yet the song itself is a description of how these guys pick up chicks. “Foundation” is the mandatory dance track and I’m sure it was a club banger because of the upbeat feeling it invokes. “Drop It Heavy” contains perhaps the most technical and complex lines yet as KRS-ONE makes an appearance alongside A.G. and Big Pun to create an esoteric analysis of the dark side of rap.

Fat Joe and Big L are absolutely haunting on “Da Enemy”, a song that details both MC’s, and an entire generation of young disenfranchised blacks, hatred of cops. Over an ill beat, this relatively short track does not disappoint.

My favorite song on this entire album is easily “Stand Strong”, a song that has everything I enjoy about rap; sick rappers and a great beat. The song’s beat is particularly tricky, as it only appears at the beginning and end of each rapper’s verse, as well as the hook. Big L’s contribution might be one of his best, and is definitely in my top 10 verses of all time.

Ending D.I.T.C.’s first and last studio album, "Tribute" is a poignant commemoration of Big L’s tragic death on February 15, 1999. Capping a stellar album, this song features all of Big L’s best friends on one of the best tributes I’ve ever heard, regardless of genre.

This is one of my new top albums of all time, and I'm really glad that I came accross it while searching for new music. I strongly encourage all of you to get this album and listen to it, and hopefully it can change you like it changed me.

Track listing:

Stellar Fungk
The Way You Love Is Heaven
Thank You Lord
Drac Is Back
We've Got Your Party
Just Freak
Coming Soon


Alright y'all, I think it's time for us to get FUNKY! Slave's "The Concept" is a rare funk gem from 1978, which features a young Steve Arrington on percussion and backing vocals. "The Concept" is also Slave's debut album and was recorded in Dayton, Ohio. What drew me to listen to "The Concept" was the great balance between old school funk roots and synth/effects based vocals and guitar licks.

Starting off the album is "Stellar Fungk", an 8 1/2 minute opus that features spacey vocals and funky guitar work. Synth plays a major role in this song, which sounds like it was meant to be listened to while geeked out. The singer's voice sounds like it's being created by a guitar that's traveled through Jerry Garcia's brain and was recorded through a paper towel roll, and the repeating "We are stellar!" is creepy yet oddly funky. One of Slave's hallmarks is their extensive guitar work, and these licks play a much more central role that other funk bands. Escalating horns and a final guitar solo that fucking shreds caps this funksterpiece.

Next up is "The Way You Love Is Heaven", which has got to be one of the cheesiest song titles I've ever heard. What's even lamer is that the lyrics are even more cliché, but their executed in a way that makes you disregard what their saying and focus on the jam. A solid rhythm and great background music saves this track from being too mushy, although I can't lie; I love the airy synth and oddball guitar riffs in this track.

"Thank You Lord" is a drums-only song that sounds like they just recorded a preset off my 1996 Casio electric keyboard and stuck it on the album as a prelude to the next song...

...and what a song it is. "Drac Is Back" is Slave at their best. A straight party track that slams on all cylinders and contains one of the rawest guitar solos in funk history. Mark "Drac" Hicks really wails on his guitar in this song, I'm beginning to wonder why he never recorded a solo album. After Hicks's 2 minute shredfest the entire band joins in shouting "Party! Get Down Y'all!", which I often do while listening to this song. I've literally gotten up and danced to this album in front of strangers, something I don't usually do, and I'm hoping this is a sign of quality rather than a sign of my insanity finally taking over.

"We've Got Your Party" is basically an alternate version of "Drac Is Back", seriously. The music is exactly the same, the only differences being the absence of Hicks's guitar solo and the lyrics being changed. Party song, period.

Up next is "Just Freak", the second longest song on this album and my second favorite as well. Female vocals telling me to "Just Freak!" are convincing and sensual, and while the guitar plays a diminished role in this song it is still present and rocking. This song is more about the horns for me, which invoke a feeling of exuberance and all around happiness in me. What's remarkable about this lengthy song, as well as "Stellar Fungk", are both 8 minutes or long yet they don't drag on. I've never had the feeling to change the song because I knew what was coming next, or worse, had no interest in what was coming next. These songs may be long, but they've got plenty to keep you interested.

Finishing off Slave's debut effort is "Coming Soon", a synth based track that talks about love and romance and all that shit. Whatever, disregard the subject matter and listen to the electric piano and horns instead. The real cool part of this song is its sudden transformation into heavy, driving rhythm guitar and altered vocals at about the 1 minute mark. Arrington's lyrics are sexual and rough invitations to enter his "love cabin", and it's these lyrics coupled with Hicks's powerhouse guitar work that make this song sick.

Overall, Slave's "The Concept" is one of the last great funk albums of the 70s. If you're into soulful lyrics and heavy riffage, I'm sure you'll enjoy Slave.

That sounds super appealing. Could I get a link?

Thanks, I've been really enjoying this.
An emphasis on guitar really appeals to me in funk, and generally they get some great grooves happening.

Just Freak is super awesome. I love the vocals.

Track listing:

Enlightenment
Saturn
Velvet
Ancient Aiethopia
Hours After
Horoscope
Images
Blues At Midnight

When I first approached this album, I was expecting something completely different than what I had previously heard from Ra. I'd been told that this was his most accessible album when it came to getting into his vast catalogue, and also that it was a turning point in his musical career in the sense that every album post-Jazz In Silhouette was spacey and far-out, while everything prior was more traditional jazz fare. This did not turn out to be completely true, and although I'd say that Sound of Joy is Ra's most accessible album I still thoroughly enjoyed Jazz In Silhouette for what it was; an album rife with samba, big band, and smooth jazz influences.

Beginning the album is “Enlightenment”, a track that creeps and lurks its way through your brain with its winding melodies and soulful trumpet. This song reminds me of a night in New Orleans back alleys, where the sounds waft through the dark cool air. Following "Enlightenment" is "Saturn", a much more frantic track. The drums and cymbals are what really drives this song and the quick little trumpet choruses are evidence of Ra's ability to take standard jazz rhythms and liberally apply his own brand of exploratory melody. The key part of this song is the fantastic sax work.

“Velvet” is a song that sounds like it's on the edge of the cliff. Intensely dramatic and harmonious at the same time, Ra encapsulates the feeling of excitement perfectly. The song only clocks in at 3:20, but I found myself just putting it on repeat almost every time I listened to the album.

The first taste of Ra's eccentricity on this album is "Ancient Aiethopia", a song title indicative of not only his love of Egyptian mythology, but also his fondness for African tribal drums as well. With an album cover that was described as "half-naked women teleporting themselves over one of the moons of Saturn", this track provides the background music for such a scene. The twin flutes and piccolos tell a story that is both full of hope and tragedy, and the percussion sounds like Native American religious ceremonies. "Ancient Aiethopia" isn't far off from what would've been heard in antiquity. The 9:09 plays out like a movie, and Ra incorporates a futuristic approach in the second half. The first real piano work on the album appears on this track, and despite its brevity it does not disappoint. The song devolves into chanting and ominous drumming at the second half.

A swinging tune to lighten up the mood is what follows the immense "Ancient Aiethopia", as "Hours After" hearkens back to the days of prohibition jazz. Bluesy and rambling, "Hours After" is another stand-out track with stellar contributions by multiple instruments.

“Horoscope” shows flashes of brilliance, but otherwise it’s yet another Ra standard. It stretches, it rushes, and it swings. A good wedding song, but only if you're into psychedelics.

“Images” is a personal favorite of mine, as it showcases Ra’s piano work. I particularly like the smooth jazz feel, and the flute is sweet as well. I guess I’m just a sucker for extended flute solos, but whatever, you’ll like this song no matter what. It’s neither here nor there, not too bland and not too crazy.

Ending Jazz In Silhouette is the longest song on the album, as “Blues At Midnight” runs about 12 minutes long. Only one word can describe this song; madness. It’s insanely good all around, in all facets, and it’d be hard to find a perspective through which to look at “Blues At Midnight” that could produce a bad reaction. Piano, horns, and percussion are all on top form on this track. Despite the title, there is very little typical blues to be found here as a feeling of melancholy exuberance permeates this song thoroughly.

Jazz In Silhouette is definately an album for fans of big band jazz, or at least those with a taste for jumping rhythms and loads of soulful horns.

Nice review and kudos for putting an album out there that is not as high profile as the many albums around at the same time (Sketches Of Spain, A Love Supreme etc).

Quick and persuasive, I'll go sniffing for it now.

Track listing:

cold reading
click on that (smash the plastic death)
not what it is but what it's not
nu cringe
fool evolved
spray you with your own trip
expelled
up the shakes
ex-people
error

To give you an idea of how much I like this album, I just downloaded it about an hour ago and already think it's a classic. Usually an album takes time to grow on me, with the exceptions being stuff like make me or tiny hawks, but the bygones' debut has really came out of nowhere and suprised me. Bygones is a two-piece consisting of Nick Reinhardt, the Yngwie Malmsteen of math rock who currently fronts Tera Melos, and Zach Hill of some band called Hella. If you know anything about Reinhardt's previous work, then you'd probably expect to hear some kind of psychosis-driven noodling. In this case, you're right to think that way.

"By-" sees Reinhardt and Hill at their most experimental, kinda like they just came back from Burning Man and are still feeling the peyote. Heavier than anything Tera Melos ever did, "by-" has both dudes exploring their previously unused vocal chords. Reinhardt once said in an interview about Tera Melos that his goal was to have vocals and instrumentation blend seamlessly, an ambition that I thought was never fully realized with Tera Melos. I guess it took a collaboration with Hill to get Reinhardt to attempt such a feat, and to my suprise it actually turned out halfway decent. On songs like click on that (smash the plastic death), the lyrics don't seem forced and only enhance the musical experience. But don't get confused, this album is still very much about Reinhardt's sporadic playing. At times he seems toned down, while at others he displays a heavier side that never appeared with Tera Melos.

This album is very much one of highs and lows, with the highs being click on that (smash the plastic death), fool evolved and error. Now I don't want to be misunderstood when I say that songs like cold reading and nu cringe are "lows", because the term low has lots of negative connotations. What I mean is that these songs are more eclectic and further from established musical styles, but that's what makes them great. Their abrasive, or perhaps unerringly gnawing qualities gives these tracks their value as progressions into a new era of musical experimentation.

Already a fan favorite, up the shakes has a syncopated rhythm and pounding guitar licks to give it a rowdy feel. The lyrics aren't too shabby either, at least from what I can make out. But to me, the best lyrical track has to be ex-people. Hill and Reinhardt slam on all cylinders for awhile, then cool off with some dreamy post-rockish fever dreams, then return to making dicks explode. Not what it is but what it's not starts out like a 80's hardcore punk song, then devolves into electrified Americana riffage. Only Reinhardt could bring these two together in a marriage of decadent noise. My favorite song has to be error, which doesn't say too much for my cred I guess, as it's probably the least out-there track. It sounds good to the ear and has a melody I can whistle along to, so I guess I'm better than those who try to pass themselves off as eclectic by saying that nu cringe is the best only out of it's sheer novelty.

At it's core, "by-" is wholly a Reinhardt album. From the same dark mind that gave us things like "Drugs To The Dear Youth" and Snakeville, as well as a Beach Boys cover album, comes something entirely unique. I'd call it mathy spazz rock that borders on the edge of metal. Listen to this album, because even someone as picky as me can find value in every song's untamed abandon.

Really top review on Jazz In Silhouette, explaining songs usually doesn't do it for me, but with Sun Ra each song is such a monster of it's own there's really no other way. At the same time, though, I felt I got a feel for the album on a whole as well, so that may have also scored some point. Great writing on Bygones as well, I'll have to check that out, as it hits so hard on the first listen.

Must say, I've really been inspired to check out a lot of the artists you've put up here. Sun Ra is a pretty hard discography to get though... I'm pretty sure I have all the albums, but organizing them is crazy with all the confusion about dates and stuff. Hopefully the others will be easier when I get around to it. None-the-less, keep up the hard work, really looking forward to what comes next!

I need to check out that Bygones album. I really like Tera Melos' self-titled album. Is Reinhardt the one responsible for the Tera Melos vocals on the split with By the End of Tomorrow or was it another band member?

Yeah Nick did all of the vocals on their split with By The End Of Tonight, and that's a really great album if you're looking to branch out into math rock because BTEOT's side is some of their best.

Track listing:

Let Me Introduce Myself
When It Rains I Think Of You
A Buffalo In Yellowstone
The Birthday Jam
Waiting For An Island
If That Diamond Ring Don't Sing...

Let me preface this post with a confession; I've never in my entire life listened to electronica or any type of electronic based album, and aside from dam funk I really have no interest whatsoever in a genre that's been heralded on mb by some of the members I respect the most. I do, however, like to think I have an open mind when it comes to music outside of my comfort zone. As I began listening to "The Imaginary EP" I was surprised to learn that even though BTEOT is primarily a math rock band, their members have vastly different tastes in music. This album is almost exclusively electronica, and I have to say that I think it's one if the most beautiful albums I've heard this summer.

Before breaking up, BTEOT decided that each member should release an individual EP that shows what they like playing the most. I think that's an awesome idea, and what came out of this was four completely different albums, some good and some bad. I'll be sure to review the others after this, so make sure you follow along. This is the last of the four part series, and it's the work of their original guitarist Josh Smith.

"The Imaginary EP" starts out with the aptly named Let Me Introduce Myself. It starts slow, but it's painfully beautiful. The soft electric piano chords and dreamy little bell effects paint a gorgeous soundscape. The heavy guitar clashes with its lo-fi, almost hollow sound and gives this short track some character. Next is When It Rains I Think Of You, another awesome tune with catchy little synth hooks and weird drum samples. The biblical quote about rain from a baptist preacher is perfect over the intricate melody. I've always loved vocal clips in songs, probably because nearly every screamo band has done it at one time or another, and this clip is perfect in terms of pace and delivery.

A Buffalo In Yellowstone sounds watery, like if you were in a cave and you heard the dripping of stalactites funky harmony. The Birthday Jam reminds me of Del Tha Funkee Homosapien's beats, if you've ever listened to Deltron 3030 you'll know what I'm talking about. It's kinda dark and futuristc in a way that at first listen it might not hit you full force, but after you hear it enough it eventually gets stuck in your head. Waiting For An Island is one of my personal faves, as Smith finally breaks out the axe and injects some heavy soul riffs into his electric dabblings. I never minded it when Tera Melos would throw in little electronic or house loops in their music, but I wasn't ever really pysched on it. Smiths stuff is perfect for someone like me, someone who is a beatjunkie and who also likes power guitar type stuff at the same time. Mixing the two sounds great and makes me want to find more stuff like this. Last is If That Diamind Ring Don't Sing..., a song rife with sirens and spacey samples. Explosions make an appearance alongside phaser beams and upbeat techno. I love how Smith communicates such powerful emotion through electric and synth instruments, and I'm sad that he only made one album like this.

So, to sum up. I really enjoyed this album, despite it being something completely different than what I was expecting. I'm now interested in seeing what electrionica has to offer thanks to this album, and I recommend all of you check it out.

I like the sound of that for sure. As for Electronica, it is so easy to judge a music form upon Dance/popular music which is a complete misgnomer as far as the genre is concerned (I am not saying that you personally judge it this way but it's easy to dismiss genres with bad examples assaulting the airwaves.

Maybe I should do you a comp ;)

Sounds a very interesting album that, might have to hunt it down when I've got a bit more space for it (I've got a heap of new albums to get through at the minute). I just feel the need to throw in a 'what he said' kinda comment regarding Lee's comment - electronica is definitely worth keeping an open mind for. It has a much broader musical scope than the radio and run-of-the-mill club playlists would have you believe, so there's always gonna be at least one area of it that appeals to you. By looks of it you've found somewhere to start, which is cool.

I totally get where you guys are coming from, and it's not so much that I dislike the popular electronic bands but rather I am completely ignorant of the genre. No one I know listens to electronica, and despite the famous Chicago house scene I have never been to a show. I'd love a comp because right now I'm just stumbling around in the dark.

This sounds really interesting, might have to try and track them myself.

There's a mix I made here but that focuses much more on progressive house which might not be to your taste. Worth a gander though as a lot of those my favourites of the genre. You're probably best off seeing what Lee can come up with comp-wise though.

d/ling now, and if any of you guys need it just let me know because i've got it upped already.

Ah, you have it upped? That being the case, I wouldn't mind part-taking if you're alright linking me up :)

By the holy thighs of Manbearpig, Slave are the best damn funk band I've heard in aeons!! I'm really loving The Concept so far, and thanks for pointing the way for me! :bowdown:

Track listing:
Griot
As a Matter of Fact
Salvation Army
You Don't Know What Love Is

I picked up this album about two months ago during the summer doldrums on a whim. I wasnt expecting anything too mindblowing, and mostly I just liked the album art which seems to be my only criteria for trying new things these days. So imagine my surprise when I discovered that not only did I like this album immensely, but that I now consider it one of the best jazz records I've ever heard. Contrary to popular opinion on these boards, which might label me as "one of those screamo guys who makes stupid jokes", I have an extensive and longstanding history with jazz. I feel comfortable interpreting it, listening to it, and even talking about it. This is an album that I could talk about for days and days, but I'll limit it to just this post.

The first thing I thought about McNeill's first track, Griot, was that it was long. Probably too long. Way too long. It's almost 17 minutes of pure jazz flute experimentation mixed in with samba and stylistic influences from who knows what lost Amazonian tribe McNeill decided to emulate. Some of it is good, some of it is dreadful, but most of it is just average to me. What really stands out is the bass, which is funky and soulful despite the slighty macabre attitude of the piece. It's an epic song for sure, but maybe not one you'll want to press replay for after it's finished. I have to admit I couldn't even bear to finish the track, it just seemed so repetitve and boring that I contemplated just chucking the whole album out. Thankfully I didn't.

Next is As a Matter of Fact, a far more fusiony piece that has McNeill stretching his flute skills to the max. It's the kind of music you might see in a Brazilian karate film, it's upbeat and wildly melodic. The frantic notes collide with themselves and create a kind of awkward harmony that eventually gives way to some more structured piano work. Yet again the bass impresses me, and the contrast between the bending bass notes and delicate keys is fantastic.

On to Salvation Army. Now, some of you may be wondering how I can regard this album so highly when I think half the album is average at best. That's where Salvation Army comes in. It's beautiful. Absolutely stunning work by the pianist and McNeill reflect the South American attitude of the album. The flute doesn't seem forced down your throat, instead it rushes back and forth in a dazzling spectrum of highs and lows. The bass line is infectious, almost maddening in it's ability to get stuck in your head through simplistic repetition. I could listen to this song for the rest of my life. I love how the drums and piano both add little flourishes, and the solo keys part is brilliant. Understated but still elegantly funky, I can picture in my mind the way it would look if they performed live because of how expressive this music is. In short, I want to be this song.

Having the unenviable distinction of following Salvation Army is You Dont Know What Love Is. Very similar to the first track, except this song is much more lavish and sensuous. It's very romantic in the way McNeill crafts tender melodies on his flute, while a Blue Note-esque bass line pervades. It's a great way to go out in style. However, I'd prefer if it wasn't so damn long. McNeill doesn't radically change his style anywhere throughout the song, so what's the point of neverending repetitive intervals?*

I really encourage you to get this album, it's too good to pass up. Disregard my negative statements and see for yourself how underrated jazz flute really is.

UPDATE: TRICK TUESDAY'S
Henceforth, I'll be putting up posts consisting of the tracks I've been enjoying throughout the week. Attached to each track will be brief background/stoned observations.

Let's get started;


Easily one of the most lyrically advanced and well-produced Wu Tang songs in the canon, Ice Cream features a slew of Killa Bees rhyming about hoes, weed, beef, and the streets. Perfect song to play as you creep through your neighborhood on the late.


Headlining a few of our party mixes is this tune, a classic De La joint. Summer nights aren't complete without a few friends, a few drinks, and this track.


Yet another devastating Hiero cut, featuring some of the illest lines from Phesto, and my favorites, Pep Love and Opio. Listen and marvel at true lyricism.

that Hieroglyphics sample is sick

d/led all the albums in this thread, except for Treasures, couldn't find that one

Lately, and almost inexplicably, I’ve been delving deep into electronic/glitch/trip hop/whatever you want to call it. Precipitated by a headfirst lunge into these genres two weeks ago, this obsessive questing for new music revolves primarily around any and all releases by two very, very good producers. One of those producers is 25 year-old Aleksandr Kholenko, a phenomenal Russian artist better known as DZA and founder of Moscow’s foremost electronic/hip hop label; how2make.


What started my fascination with DZA, or Dzhem as he’s also known throughout Europe, was a mix that he posted to soundcloud. I’d never been a huge fan of electronic music, but I was encouraged by an acquaintance of mine who has a passion for the genre to check out this mix. I’m certainly glad I did, as I greatly enjoyed DZA’s “Spiders Defeated” from start to finish. The track is at its core a wonderful little patchwork of folk, hip hop, electronic, and trance; but with DZA’s orchestration it becomes a thing of beauty. After hearing “Spiders Defeated”, I turned to another of Kholenko’s highly touted mixes; “I Go By Handsome, Twenty-Four Year Old”. A massive collection of every sample material imaginable, “I Go By” is a breath-taking display of a young DZA’s ambitions as a producer. The mix seamlessly skips from dubstep to soul, Soviet movie scores to industrial snare, from house to jazz, the loop all the while keeping step with erratic, irrational beats hand-crafted by Kholenko on an antique Akai MPC. I find myself fast becoming enamored with this heavier, grittier production style favored by a new generation of beat-makers. DZA’s efforts are certainly helping to convince me.

While his mixes are top notch, most of my favorite DZA tracks are contained within his debut album, dubbed “Five-Finger Discount”. I downloaded “Five-Finger Discount” not knowing what to expect, but I was pleasantly surprised when I found a few real gems. FFD contains a wildly diverse set of songs, each sounding completely unique and ill in their own sense. Few tracks are what most hip hop heads would even consider “beats” in the proper sense, yet the album remains a triumph of electronic MPC work in the post-Dilla era. These tracks pretty well exemplify DZA’s versatility when it comes to beat-making, but more importantly they’re all personal favorites.







I was fortunate enough to get my hands on DZA’s beat tape, entitled “MPC Demos”, from a friend a few days ago, and while not having a track list prevents me from sharing any of the songs with you right now I can say that they include some brilliant material.


The second half of this post will be about Knxwledge, a producer from Philadelphia that’s making some of hip hop’s best beats right now. His style relies on airy synths, jaunty jazz samples, gospel hooks and soul loops. What I particularly like about Knxwledge’s style are his drum beats, as I find that they’re always on point and compliment the song he’s working on. I’ve downloaded a lot of Knxwledge’s music, and instead of telling you about it I’d rather you just listen because, honestly, that’s what got me hooked on him.





Knxwledge also did a killer mix called “Krapes”, dedicated to the 5th anniversary of “The Art of Reuse” magazine. Probably one of the sickest beat mixes I’ve heard in awhile, strongly recommended. Unfortunately a lot of his best work isn’t available on youtube, but I strongly encourage you to d/l his music. Best stuff: SKRAWBERRiES FUNRAiSRS VOL. 3, Klouds, and Kannaloupe.