Saturday, September 30, 2006
Compilações da Semana
VARIOUS - The DFA Remixes: Chapter Two (DFA UK) [oiça aqui] Comentários: The DFA (Tim Goldsworthy & James Murphy) return with the second instalment of their highly acclaimed remix compendium; "The DFA Remixes - Chapter Two", which brings us further examples of their craftsmanship as they take on the likes of Goldfrapp, Tiga, Unkle, Chromeo & Junior Senior - many of these mixes available for the first time commercially. The vinyl issue of the album will also feature rare instrumental versions.
Friday, September 29, 2006
"People will always remember Gang Starr's history and revisit our records," admits Guru, who also founded his own label, 7 Grand, earlier this year. "But I feel like I'm on the verge of many new things, and these upcoming years will be the beginning chapters of that."
Gang Starr's first project, No More Mr. Nice Guy, was released on January 1, 1989, on New York's Wild Pitch label. In the decade-plus that followed, Gang Starr's records would go on to achieve greater notoriety with each passing year, cementing Guru as one of hip-hop's most respected MCs. With new endeavors afoot, Wax Poetics reminisced with Guru on past chapters, revealing Gang Starr's formation, Wild Pitch's growth as a record label, personal thoughts on his longtime partner DJ Premier, and how New York City, which has been a backdrop for their music for years, has affected his growth as an artist.
Wax Poetics: What was New York like when you first started listening to hip-hop?
Guru: For me, personally, it was the most exciting thing I've ever experienced. I mean, hip-hop was the beat of the city. From 42nd Street to Brooklyn to the Bronx, it was everywhere. There was a certain feeling in the air for me. It was magical.
How'd you get started rapping?
I'm originally from Boston and was doing things with a DJ there. I rapped and he produced and beatboxed. This was in the late '80s, and we had only made a single. But those dudes wanted to be local yokels. They didn't want to rough it, so I took all my stuff and moved to New York, and everyone thought I was nutso. I lived in a one-room apartment. After shopping demos around, I got signed to an independent label called Wild Pitch, which finally liked my demo after I had to redo it numerous times. [laughs] I remember reading The Village Voice, and I went to this place called Little Rascals in Queens. I remember chasing a dude for blocks, [laughs] because I didn't like the way he mixed my demo. He was either gonna mix it again or I was gonna get my money back. But, um, that's a funny memory of how I got my demo to Wild Pitch. What happened was these Boston cats would come up from Boston and sponge off of my hard work in New York. We had a fistfight and everything. Those dudes went back to Boston, and I cut them loose. It was a wild times. [laughs]
So Wild Pitch was responsible for Gang Starr's formation?
Yeah, in a sense, you can say that. I mean, I told this dude from Wild Pitch my situation, and, at the time, he'd let me hang out in his office, which was actually his living room on 43rd Street. Sitting around up there, I picked up Lord Finesse's demo and Premiere's demo. So I was like an A&R for Wild Pitch, but the motherfuckers didn't pay me. [laughs]
So you hooked up with Premier shortly after?
Yes. What I did was I took his demo home immediately and rhymed over it. I got his number from that Wild Pitch executive and called him up. I dug his vibe immediately. He was in school at Texas at the time and was gonna be back in New York in a couple weeks. He came back, we linked up, and hit it off.
What was it about Premier's demo that struck you?
The first thing that struck me was his use of jazz. I remember how he used to layer his beats with four tracks. He'd start with one loop of breaks, layer some jazz samples over it, add some scratches and other fitting sounds. So, for sure, it was the jazz element and breaks that caught me. Like I said, I freestyled over that demo of his all by myself, all night long. I've always admired Premier's consistency when we worked together. I'd remember hearing tracks he'd give to other MCs and thinking, "That should have been mine!"
So the first time you and Premier worked together was No More Mr. Nice Guy?
Yeah. It was so fun, but it was a learning experience. I mean, we did that record in two weeks and threw that shit together. You know, I don't even consider that an album. I consider it more of a demo.
So you consider Step in the Arena you official first record?
Yes, definitely. I mean, we were better disciplined for that and had more time. It still stands as one of my favorite Gang Starr albums. It represents a magical time. Plus, it had that song "Just to Get a Rep," which is one of my favorites.
Obviously, Step in the Arena represents an important time for you. How do you look at Daily Operation and Hard to Earn nowadays?
Those albums are no doubt my favorite to perform — especially the song "Mass Appeal." To this day, I still open with that track. Those records are filled with crispy samples and verses that I think are really important. I mean, many consider "Mass Appeal," a classic and it was a song with an actual purpose. I was addressing a certain type of rapper with that song. It's funny, because that song ended up getting us a lot of exposure. I mean, it took us to The Arsenio Hall Show[/i[! At that time, if you got on Arsenio, nobody could say shit. That song and those records gave us great experiences, man. Lyrically, it was about dudes who were gaining mass appeal by portraying fake imagery and selling out. I wasn't about that. I also purposely kept the record vague, because I don't like to attack MCs personally. I'd rather throw them in one group, and if the shoe fits, wear it.
Well, speaking of revered songs, what do you recall about "Words I Manifest"?
It is very special to me. I was finding myself as a rapper and forming more spiritual beliefs. I wanted to be true to my lyrics. What I mean by that is that I wanted to have themes behind my words. I wanted to say things that were true to me. Rappers, then and now, would always talk about things they didn't have, like diamond rings, furs, and money. But I didn't want to talk about that stuff, 'cause I didn't have any of it! So I started to talk about what I knew, and that record was the start of that. This was very important, because I was defining my identity.
Out of all of these respected projects, which are your favorites?
It's a tie depending on my mood. [laughs] Step in the Arena or Moment of Truth, definitely.
New York's obviously been a theme, a backdrop, and an entity in your verses over the years. What goes through your head when you walk through Brooklyn?
The feeling I get, first of all, is that the Brooklyn borough raised me. This town makes me proud. When I go through there, I get chills from all the visuals. Every little thing was important to me here. Even the way we rolled blunts was special to me. [laughs] It's funny you ask that, because just the other day, I saw a spot where Me, Biggie, and Lil' Cease used to chill. We'd be smoking blunts and drinking forties. I remember telling Biggie to make a video for his shit. He blew up quick and was out! Those were good times, man. [laughs]
After all these years and many memories later, do you remember the first place you played at in New York?
Yeah, [laughs], I definitely do remember. I was a place called Hotel Amazon on 14th Street in Union Square. Each week was a different theme named after a candy bar or some shit. So one week, it'd be called "Milky Way" or something. [laughs] But it was actually at a Wild Pitch showcase that was my first time on stage. I swear, this was the only time I was ever nervous. I'm about repping the music and communicating with the audience, and I take pride in that. But I'd look into the crowd, and gods like 45 King and the Flava Unit were there, so I bugged out! Plus, some friends were heckling, 'cause I was a new jack at the time. [laughs] But when I finished, I got a nice round of applause, because they realized I was fearless and my true MC character came out. Before that night, I had only just repped at open mics.
Speaking of memories: Were you in New York on September 11?
Yes. I was sleeping, because I was up late and got woken up from a barrage of phone calls. I turned on the news, and, like everyone else, was deeply saddened. But at the same time, I wasn't too surprised. I knew something was going down after the World Trade Center had already been attacked. Plus, all the precautions like the safety command center were in the newspaper. I was sad but not too shocked.
Do you notice a difference in the general vibe of the city after 9/11?
Yes, definitely. This free city that is known for freethinking is now constricted. It's turned into a police state. And I know the intentions are good and it for our overall safety, but, at the same time, it pushes other issues that mostly affect poor Blacks and Latinos even further back. Things like homelessness was already disregarded, but now it's a non-issue. Even more underneath this is the issue of the homeless children rate rising. Not only in New York, but also all over the country. This really fucking bothers me, and it gets no media attention. In a country this rich, there should be no such thing as a homeless child.
You're a part of hip-hop history, and New York is a part of Gang Starr's history. What does New York mean to you?
New York made me.
Thursday, September 28, 2006
madwax soundinvasion feat. Logistics & Wrec
Drum & Bass funky flava! Já agora, Logistics ou para quem já conheçe, mista Matt Gresham, editou no passado dia 23 de Setembro "Now More Than Ever", é a mais recente aposta da label [Hospital][NHS 112LP]. O duplo cd apresenta uma grande variadade musical, não esqueçendo que a qualidade não deixa nada a desejar, é potente, vibrante, explosivo. No cd1 predominam géneros como o electro, disco-soul e d&b, o groove varia entre uma atitude melancólica, até que por fim atinge um estado extremo de euforia; O cd2 está reservado a uma área mais experimental e partilha de novos conceitos. [oiça aqui]
Tuesday, September 26, 2006
New Orleans, Lousiana, ponto de partida para uma pequena estrela que no futuro prometia brilhar, Voice cresceu numa família onde a celebração do Jazz era uma constante, a sua mãe partilhou consigo um passado onde ocupava o lugar de vocalista, miss Zardis, cujos mentores seriam na época Horace Silver, Herb Mickman (formador e director musical de Sarah Vaughan), Billy Higgins, Barry Harris, entre outros notáveis. Numa era assaltada por factores de consumismo, pornografia, droga e violência, a rapper declama uma poesia urbana de intervenção, o seu tom de voz é quente, firme e aveludado, o seu estilo paradoxo é descrito como sendo 50% Jazz e o restante "In Yo Ass". Formalmente apresentada ao mundo (mais própriamente ao Japão) em 2002, com o trabalho "The Christie And Dupont EP import-only release", na label Canadiana Public Transit Recordings, conceptualizado por PTR, mascote dos Moonstar. No mesmo ano figurou no "Scattered Snares Across The Track" para o catálogo da Twisted Funk Records. "Gumbo" o trabalho mais recente de Voice, é o resultado de uma vasta partilha e experiência de trabalho a par de PTR, juntos encontraram inspiração e buscaram atingir limites e fronteiras nos pólos urbanos americanos, de Los Angeles a Toronto, de New Orleans a New York, o resultado foi, o hip hop, o jazz, o house, broken beat e lounge. "She's also featured on new "Zero DB" LP (Ninja Tune) kicking it on a jazzy vibe" . Disponível no catálogo da Public Transit Canda, a partir do dia 2 de Outubro, recomendo vivamente, para ouvir é só clicar [aqui]
Erik Truffaz - Yuri's Choice
Monday, September 25, 2006
Sunday, September 24, 2006
Saturday, September 23, 2006
Anos mais tarde, Snax começou a viajar, abandona a sua terra natal (Maryland/DC) em direcção a S.Francisco, lá fez parte de um trio de art rock, chamado “Fagbash”. Dois anos mais tarde rumou a Nova Iorque, farto de bandas rock, começou a concentrar-se no Dj’ing e na produção de House e Hip Hop, mais uma vez fartou-se das normativas e restrições das editoras para quem colaborava; fundou a sua própria editora onde começou a editar os seus próprios trabalhos, daí resultou “Kate” uma mix tape [hip hop], a qual angariou a atenção do artista e rapper “Tara DeLong”, juntos fundaram a Bedroom Productions, onde lançou em 1998, “Bedroom Productions” (uma simbiose de hip hop com electrónica experimental), em 2000 “Fast Cars” (continuação do géneros abordados no EP anterior). No mesmo ano, foi tocar para Berlim, onde conheceu aquele que é hoje um grande amigo, Khan aka Can Oral, os dois formaram um projecto que preza de alguma consideração e respeito por parte da crítica, Captain Comatose, cujas edições constam em grande maioria no catálogo da germânica Playhouse. Em 2004, edita sob o disfarce Snax, para a label Mental Groove [MG 045], o tão aclamado álbum “From The Rocking Chair To The Stage”. Em 2006 colabora com Ianeq aka Yanneck Salvo, para a label Get Physical [GPM 043], com o título "Fill Me Up". No presente dá-nos a conhecer “Love Polution”, nele é dominado com muita perícia, a mestria do eclectismo, não se roga em construir modelos hip hop, jazz, funk, electro clash, vincado pelo metal das guitarras, é um desafio à cultura mainstream, um desafio ao mundo amorfo de tendências musicais vazias e cheias de convénios e plágios sistemáticos, não só por parte dos que produzem essa matéria em “decomposição”, que tanto afirmam ser música, mas também para aqueles pseudo críticos, sem se saber como, detêm um “bom nome” na praça da musica, para esses, só desejo que cavem o vosso buraco com urgência e tapem os cornos como fazem as belas das avestruzes, adiante… O álbum de snax vai estar disponível a partir do dia 25 de Setembro para a label TNT, continuação de uma boa tarde, e desculpem qualquer coisinha, voltem sempre. Snax Blog
Friday, September 22, 2006
I:Cube - Adore
DJ SHADOW ou Lixo Mainstream?
Thursday, September 21, 2006
aka Clifford Price, outro rei do Jungle/Drum & Bass; desde 1965 que este rapaz crescido numa cidade britânica, Wolverhampton, tem vindo a inspirar gerações como é o caso da minha, em 1995 fiquei oficialmente adicto às produções de Goldie, "inner city life" (editado para a extinta label FFRR, remisturado tempos depois por 4 Hero, Doc Scott, ) foi definitivamente a faixa que mais me marcou, e fez me embarcar numa onda urbana, ainda recente para a época.
Tuesday, September 19, 2006
Vinyl Attack 19
Monday, September 18, 2006
Já disponível está a programação do lendário club de Berlin, o Watergate, conhecido por receber grandes nomes/labels da vanguarda tech minimal, uma delícia para mentes tecnológicas , ora vejam:
Get Physical Labelnacht M.A.N.D.Y. [Get Physical]Heidi [Phonica]Williams: Live! [Get Physical
c 20 de Setembro »» Water Floor
DJ T. [Get Physical]Chelonis R. Jones [Get Physical]Matchbox [Rotation]23.00 – 24.00 Brendan Adams Trio - Konzert
g 21 de Setembro »» Main Floor
Ellen Allien & Apparat: Live! [Bpitch Control]Ellen Allien DJ Set [Bpitch Control]MDSLKTR DJ Team [Bpitch Control]Para One [institubes, Paris]
c 21 de Setembro »» Water Floor
Sascha Funke [Bpitch Control]Sven VT [Memo]Fritz Zander [Memo]
M_nus Labelnacht Richie Hawtin [M_nus]Marcthrob: Live! [M_nus]Magda [M_nus]Gaiser: Live! [M_nus]
c 22 de Setembro »» Water Floor
Troy Pierce [M_nus]JPLS [M_nus]Tractile [M_nus]
Labels: Cultura Urbana
Spot Publicitário_Diesel 1995
Sunday, September 17, 2006
cinema · 4 a 9 de dezembro de 200618h30 e 21h30 ·
Pequeno Auditório · 2 Euros (Preço único)
Saturday, September 16, 2006
step by step by...
Thursday, September 14, 2006
Em 2000 editam pela Eskimo a primeira de uma série de colectâneas de culto, “Schizophrenia!”, que ajudaram a re-defenir uma nova visão da música de dança, lançando as pistas daqueles que viriam a ser os seus novos territórios, e que incluem também “Serie Noire” (vols. 1 e 2) e “The Glimmers”, ainda para a Eskimo, “Club Culture”, para a N.E.W.S., “Sidetracks”, para a Blue Note e, finalmente, mais um capitulo da colecção DJ Kicks, para a !K7. São responsáveis pela série de re-edits Buffalo Jams; produzem regularmente para selos como a Eskimo, a Gomma, a Sunday Best (Rob da Bank) ou a Gigolo.
Actualmente, The Glimmers são requesitados para actuar em todo o mundo, de São Paulo a Barcelona, de Moscovo a Amesterdão, de Londres a Tokyo, fazendo da irreverência a sua principal arma, em sets em que a sua mistura de New Beat, Disco, Funk, Dub, House, Techno, Party Hip Hop, New Wave e Pós-Punk, se torna irresístivel. Editam agora o novo trabalho "Time 4 Action" para a label belga Diskimo [DISKO 6001], a data oficial do seu lançamento está prevista para 18 de Setembro. Encontramos neste maxi uma raiz sólida de influências disco com electrónica à mistura, conta com remisturas de CJ Bolland e de PaddedCell.