Hypes been abuzz in the fashion world for 2011. No, it’s not Kate Middleton or her hot sister. Urban fashion icons Akomplice have once again teamed up with the musical curators of our grimy, urban environments. Akomplice prides itself on the creative inspiration that drives its clothing line. In their words, the apparel they create attempts a “positive impact, provoke thought, and communicate about issues.” As we all know, hip-hop has been the cultural movement most evocative of these ideals. So when a classic, innovative, and conscious hip-hop apparel company collaborates with a representative artist… it’s a mad ting. Keeping in line with images and thoughts conveyed in their art, the aritst’s AK collaborate with no doubt share these forward thinking traits. Detail is another crucial aspect of Akomplice that I've admired for a while. Their tendency to use simplicity in some instances actually comes across as being a component to an overall complexity toward the meaning they are trying to convey. Get me? No worries.
Last time I linked up with AK on the interwebz was when they teamed up with Hiergolyphics on the wicked Varisty Hoodie (stillavailable online). Check out that piece covering the release reception, here. This time, the peeps at AK linked with DOOM. Formerly MF Doom, the rapper has been an underground legend for years. His easily distinguishable, kicked-back flow and ace lyrical content has blessed DOOM with a loyal following and mass appeal without any major label assistance. Even more impressive than his personal work is his other collaborative works. In addition to Akomplice, DOOM has collaborated with Danger Mouse as well as Wu-Tang; notably producing tracks for Ghostface, as well as Think Differently's compilation which featured DOOM and RZA on the experimental “Biochemical Equation”. Pushing it further forward on the left-field urban tip, DOOM, a former British ex-pat collaborated with Dabyre, which included offical remixes from FlyLo and Kode9. Massive respect to DOOM on that one, as the LA beat scene and the stateside dubstep were still relatively nascent at the time.
So as it is... a collaboration between DOOM and Akomplice is simply something to anticipate. But what exactly are we waiting for? That’s just it… no one knows, that's part the hype. The project remains a mystery as the fruits of this gauranteed-sick collab are sealed inside a wood box, with the DOOM and AK logos branded beautifully on the exterior. Don’t have a crow bar to pry it open? That’s cool, Akomplice got you covered with an engraved one matching the box's complimentary artwork. So you want to wait to find out what’s inside?? Well since that’s no fun, this purchase will only be available for 1 day on their online store. But hurry up, cause the clock is ticking and you don’t want to be without this. Whatever “this” may turn out to be. Done know!
Additionally, the item will be available at the AK’s storefront location in partnership with your Fuzion, on State Street, Santa Barbara. AK just hosted their summer release party, with some sick threads from their new collection. Patrick McCarney and the AK team blessed Santa Barbara with some ILL hip-hop with some ILL hip-hop acts throughout the night, imported from AK's former HQ in Colorado. Fuzion also brought back KC badman, and SB resident Chadillac, always kickin' the flavor in your ear. Following some high energy performances, an after-party at Tonic featuring a fashion show with some hot models modeling this summer’s hottest apparel. Be sure to cruise through Fuzion every first Thursday and check out some amazing art, clothing and music with some awesome people. The new Fuzion x AK partnership is sure to elevate both companies stature in this 805 coastal paradise. My bwoy X-seed was the first in-line for the event, and always lookin' out for their supporters, the crew HOOKED him up with madd gear. So get down there July 7th and party proper with the AK and Fuzion boys. And don’t forget to pre-order your mystery DOOM x AK piece TODAY. Check it... the clock is ticking!
Earlier this year, the UK network MTVBase aired a special about the UK’s best emcees of 2010, which was determined through a panel-points system. It was widely publicized and developed into quite an event, and rightly so, considering the UK's urban talent pool is finally being recognized globally. Twitter and blogs went abuzz with all-out rejections of certain people, as well as new suggestive lists written up. Of the new entries, there were expectedly a few constants. Ghetts, Kano and Dot Rotten fans appeared on forums with severe expletives as to why they should have been put on. Ghetts even took it further releasing a music video dissing the panel and the selected. But another name also surfaced with regularity: Durrty Goodz. The difference with him, however, was a lack of ludacracy on those same forums regarding his omission. It wasn’t surprising; in fact, it's almost become expected.
Doogz has been the most underrated artist since grime had artists of recognition to begin with. Personally, I’ve never understood this. One factor may be his rapid-style which may lose listeners; yet I find it to be one of the most punctuating and clear dialects within British grime. Maybe it’s his refusal to sacrifice his musical style for money, having rejected numerous label deals. Perhaps it’s his output consistency, which is relatively minimal in the hungry-for-moar mentality of grime fans. This would seem to be the best hypothesis, however no one can really knock Doogz' work ethic. That’s because when his releases are put forth, it’s a fucking mad ting. The quality-over-quantity discussion runs ramped over the waves, and Goodz is the primary example of the former. Whatever the reason, it has become standard practice to deny Durrty Goodz the due recognition. But every time ‘a season, man comes out of seclusion to shake up the scene and silence all critics. It’s these moments of musical reverence as to why I maintain that Goodz is the most underrated of artists, the best MC alive on the planet, and maybe single most talented rapper since Tupac. There I said it. Now let me give a run down on why this is the case.
First, if you haven’t read my initial review on Goodz back in early 2009, check it here. As a stated then, Goodz uses banging dubstep and grime tracks to bestow himself to listeners. Though whereas many grime emcees use pop or house beats to gain favor, Goodz does it on the flip-side using ace producers of grimey, bass-heavy, dark-sythed tracks. This has allowed the rapper to stay true to himself, while bulding a dedicated following, primarily asserting himself as a grime artist. Meanwhile his counter-parts tend to be percieved as selling out toward commercial ends. His speed, clarity, and variance define him as an undisputable top-rated lyricist in the trade, sans national borders. What makes a good emcee overall, and especially in the grime scene, is all brought out in Durrty Goodz.
WAR: In recent years grime has moved away from the battle antics that made it so popular to the public eye, as it illuminated the skills of unheard British talent. Wiley’s infamous Eskidance event was one of the single most popular showcases of grime talent. Wiley steady built his reputation clashing, and annihilating emcees on his own platform. That is, until Goodz came along to become the only emcee to clash Wiley and win outright. The years after that, war dubs toward the emcee became more difficult as he regressed off the radar. Even then, if put to the test man will clash and beat anyone. Props.
VERSATILITY: Doogz has demonstrated his versatility time and time again. He has said he considers all of the urban music genres to be hip-hop, in its original sense. And like so, he released his album last year to critical acclaim. KRS-1 vocal samples litter the album, which features appearances from Steve Marley, Caron Wheeler, and Goodz brother Crazy Titich. Goodz also released it as a free giveaway online. The album’s depth solidified Doogz as not only a grime emcee, but a lyricist all his own. Prior to that, his Axiom EP had him riding DnB tempos with ease, as well as the legendary “Switching Songs II”, which had him changing his delivery and style over classic garage riddims. The follow up release “Ultrasound” was equally versatile featuring tracks of 4/4 electro (mocking the scensters), R&B, grime and dubstep.
DEPTH: Goodz' music runs deep. His musical references substantiate this, having the anthemic tune “Give Me The Music” arranged with a single corus, put at the end. Blackdown revealed in his column that this was an homage to Stevie Wonder, demonstrating Goodz’ perspective of musical history in the youth-built grime scene, whom often seem to disregard those transcendental, street-expressive experiences of the past. “Switching Songs Pt. II” showed a methodical equilibrium between Goodz’ ‘versailty-as-concept’ and the song as a variable, interdependent canvas. Dot Rotten’s hidden production “Real Talk” runs deep emotionally as well. The incarceration of Goodz and his brother is one of grime’s most tragic tales. Goodz was put on trial alongside his half-brother, Crazy Titch for murder. Doogz was to be acquitted while his brother, a rising star within the nascent grime scene, was given a life sentence.
As a result to his tribulations, Goodz has grown into a true artist creative a substantial message to his listeners. While a lot of his counter-parts relish in negative street portrayals of bare hype, Goodz calls for an end to this negativity, which underlie the real talk and imagery his music evokes. True to form, Doogz again gets deep into creative procedure with “Jail Tales”, in which he draws comparisons of the music industry and it’s glorifications of illicit lifestyles and imprisonment, to those of his own honest reflections of jail and it’s repercussions. His BBC video freestyle is a must watch. Though his singing isn’t his status marker, his conceptualization and delivery is top-notch with metaphors and similes sublime.
Now Goodz is back. And when it seems he can no longer elevate his status, he drops a fucking bomb on the entire grime scene with hype in excess. Seemlessly integrating all the previously covered qualities of Goodz, recently he has remarkably showcased them all in one tune. In an impromptu session, Goodz had put it out there on Twitter he wanted to come into Sama’ show. Sama was actually not planning on going live that night, but with Goodz being quite the rarity, appropriate accommodations were arranged. But listeners tuning in to ear some live bars from Goodz wouldn’t get such. In promotion of his upcoming release, “Overall”, due out in early May, he came through with a few teasers tracks from the album. Included was his just released single “Oi, What You Looking At?”, which featured a well produced, if bizarre, video set in a futuristic, hobbesiean environment with Goodz at the top of the food chain. The tune that shook the Kiss studios, however, and stirring far bigger waves was “Battle Hype”. The entire interview can be played, below.
Those characteristics of depth, conceptuality, versatility, and war with a fervent lyricism, become apparent in this massive 11+ minute sonic-event. First kick it off, he bigs up “all the artists featuring”, saying they are critical to the grime scene. Then all hell ensues. Riding a simple Silencer riddim which harkens back to the old days of battle sets, Goodz’ intro set’s up a battle amongst grime’s elite; an epic battle featuring Skepta, Ghetts, Wiley, Dizzee Rascal, Kano, D Double E and Crazy Titch. At first the radio quality diminished the sound, but it wasn’t quite clear who was spitting. Then I realized it was actually Goodz. All the featured artists were Goodz. He was impersonating the emcees, used their staple flows and vocal tones to recreate a conceptual battle with the scene’s top talent; including Goodz paring himself. Matching various artists up with one another, Goodz incredibly executes these artists with accuracy. His versatility changes command with each series of bars exchanged. Then Crazy Titch to close it out?! Maaddd ting.
The beautiful aspect of Battle Hype is that he wasn’t directly aiming at these artists. He even reiterated with Sama that he was giving a nod of respect to these artists. Even so, 'he was sending' came the rebuttals… the ambiguity is fascinating. Following Ghetts’ “Who’s On The Panel” release just one day after the MTVBase special, Ghetts made a sly marketing move by releasing a tune w/ video the very next day. Likewise, Goodz knows the time is right for grime, and causing a stir like this with an indirect, passive-aggressive, but no less damaging manner, was simply genius. Further, it’s well known no one wants to directly send for Goodz. So even if someone did respond back, they would still have an uphill battle, and with Goodz off radar being an actual artist, as opposed to tweeting 24/7, there is little to take charge with him personally.
The fact he utilized so many emcees in his tune, while being a sort of relative-outsider within the top ranks (but no doubt still within them), he’s enabled himself to puppeteer a massive par without being clearly able to retaliate effectively, while by design also building massive internet hype for his forthcoming album. Genius. Seems Durrty Goodz once again is on point to elevate his stature as a music artist. It may seem a bit overzealous to suggest he’s the best rapper since Tupac, but that’s simply because he’s also the most underrated… so you just done know. So make sure you cop the new album "Overall" in May; guaranteed to be a certified banger. P.E.A.C.E.
Durrty Goodz Interview + Battle Hyper Debut on Logan Sama (Radio)
Just a couple hours on the countdown till my Santa Barbara mandem, sexy fasonistas and fine glass aficionados converge on Fuzion SB. Starting at 5:00PM tonight, 11.4.10, Fuzion will be hosting a reception for Hieroglyphics & Akomplice, to kick-off the release of a highly-anticipated collaboration effort between the two crews. Over years of progressive innovation and creative product, AK and Hiero have long built a mutual respect and admiration for urban aesthetics toward one another. Finally manifesting into fruition this year, AK is taking you back with one their massively popular Hoodie Varsity silhouette designs. The jacket will be adorned with the distinct Akomplice trademark, as well as Hiero's OG flavor-- Originally designed by Del, the son of an abstract artist, the 3rd-eye straight faced logo has become a staple image in hip-hop. It can be seen all over the world; from bombed up concrete walls graff-art world capital São Paulo, to tatted-up Oakland badmen, to a 5-9 fitted on the dome of that skater grinding curbs outside your house. In a 2000 interview, Del himself recalled how the image alone increased Hiero's promotional perception, "when I invented that symbol, I never thought it would get this big [...] I think slowly but surely people are starting to pay attention to us."
Just in time for an impending winter, these limited-edition pieces will keep you looking crisp outside and warm inside. Cozy arm-struts as you roll one up. As stated, this is a exclusive product based off Hiero~AK's synergistic qualities. It is sure to sell out. Consider that after today, it will only be available to purchase from Hieroglyphics and Akomplice's respective online-retail stores. I would recommend getting your ass down to Fuzion today and cop that shit!! Must also be mentioned that Hiero went into the studio to make a tune specifically for this. The jacket will come with an unreleased Hiero digi-dubplate! In addition to "The Collab" itself, there will be plenty more ill gear to scope and purchase. Exclusive new products will be showcased from Fuzion's wicked apparel, which has become a staple in SB, as well and their incredible selection of high-end glasswork. Further, Akomplice will have more signature gear rolling out their arsenal of urban wear. Personally, I've been buying AK gear since 2006, and rate it as one of the top it its industry... although to be fair, there actually isn't an industry when it comes to an AK design. The creative uniquity and strict-drive to separate from mass-appeal and popular trend, makes AK they're own industry: Unmatched.
Shit-- just spent too much time writing... it's time get ready. Head on down to Fuzion's storefront location right now, located at 1115 State St., Santa Barbara. Come kick it with some of the Hiero members and peep out the illin' threads whilst surrounded by beautiful art and beautiful people.
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Oh yeah, nearly forgot. Y'all know Hieroglyphics wouldn't rolling into town without a show, right? Following the reception will be a performance of Souls of Mischief w/ Pep Love!! The feature will be SC's Virbrant EYEris, an experimental hip-hop/dubstep crew. But foremost, my homeboy NUK will be opening to get Velvet Jones kicked-off correct! Conveniently, you can get your pre-sale tickets at Fuzion. I wish I could be there tonight... but unfortunately my Santa Babylon clique will be playing AKA's "Dub-Hoppin'" at EOS nightclub. Ironically, the event is sponsored by Fuzion and Akomplice, in cooperation with Nightowl, an SB promotion coalition. 2 rooms: Hip-hop and Dubstep. Headlining the latter, you can find myself, Hoodzpah, rinsing-out on the mic with our face-melting DJs. Whatever way you roll down State tonight, get to Fuzion for the pre-party. Cause either way... tonight is gonna be off the hook! Yep. It's like that and a-- a Hieroglyphics, yeeaah!! P.E.A.C.E.
Out-note: When I heard my choice emcee of the Oakland collective, Pep Love, was going to be accompanying Souls of Mischief, I thought a couple 2010 remixed gems would be fitting. Per usual, my standard end-post audio is by NUK, off his promo mixtape, covering Deltron 3030's "Mastermind". Additionally, the video --although 2010 creation-- will no doubt take you back to 1993. Pep, teaming up with some of the Bay's rising stars on hip-hop's most classic riddim. Enjoy the revamped nostalgia... but those golden days ain't over. Hiero back a'gone '10 till infinity!
Many were recently disheartened to hear about the upcoming departure of BBC Radio1's experimental bass host, Mary Anne Hobbs. Anyone who knows me personally, knows I'm a heavy fanboy of hers. Normally I'd reject with embarrassment and complete deniablity such a label. But with Mary Anne, I can't hide the truth: I absolutely adore her. I most definitely would not be in the subcultural realm I am today without her weekly guidance on global bass music. So let me tell you the story of a naive kid stranded on a far away island...
After moving to the UK, I was actually introduced to dubstep that first week in January 2008. At the time, it was quite unavoidable in Britain as opposed to the US, which was en route to materialize to the almost comparable level it is today. A friendly stranger whom I'd met dropped off a copy of Kode 9 and Spaceape's "Memories of the Future". Although I liked it for exposing me to those deep, dark, tripped-out qualities, I still think it was a bit heavy as an introduction to dubstep from an American novice. (I now rate it as one of my top bass albums ever). After coming to love those plowing, guttural basslines I still tended to treat it as strictly party music. Which was totally welcomed at the time, especially dwelling in the authenticity of urban Britain. Where a bit of acid or ketamine made even the most deep and desolate of dubstep feel like "party music.
It wasn't until August of '08 that dubstep would become entrenched in me. That same stranger whom blessed be with the sound, had by then become my best mate. He gave me a mix which he explained that I just had to check out. The normally articulate, expressive rollerblader didn't even have words for it... just left it for me listen. That mix was the now infamous "Generation Bass" on Mary Anne's show. For the those unfamiliar, in 2006, the now trademarked dubstep pioneers of today had come together on MAH's show to produce a legendary set known as "Dubstep Warz". In tandem with Mary Anne's heavy work with Barcelona's Sonar Festival, this show became one of the pivotal moments in dubstep's still burgeoning history, helping precipitate it's ignition to eventual world-wide stardom.
(Mary Anne Hobbs @ Sonar Festival Barcelona, 2010).
Anyways, for summer 2008, MAH had gathered all of the same producer-DJ's of Warrior Dubz; Mala (Digital Mystikz), Skream, Kode 9, Vex'd, Hatcha, Loefah and Distance. She asked each of the preceding to choose a special up-and-coming artist to champion. A symbolic torch passing if you will; the hype for this show was eagerly anticipated and massive recognition would surely follow. This one-off two hour event -- all alone underneath the stars with a spiff in hand-- single-handedly made me a full-throttle bass head. An eclectic line-up indeed. Joker and Kulture became and still are my favorite producers, one respectively introducing the "purple" sound to the world, as the latter rescinded into poet irrelevance; albeit with true unsung classics under belt. Not an old-school UKG head till way later, Oneman's garage overtones opened and blew my mind. Chef, although not producing at the time, went on to mix the classic Dubstep Allstars series and is still a ascending internationally. Starkey rocked Maida Vale studios, making the transcontinental trip and representing the rising US scene. Cyrus (Random Trio) closed it out creating a deep, nightmarish environment just as dubstep began moving away from those traditional qualities.
(Mary Anne Hobbs @ WMC Miami, 2010).
After that show I began tuning in weekly. I remember leaving the clubs a bit early on Wednesday nights just to come home, spark up, and post-party with MAH woman. When I was unwilling forced to come back stateside in 2009, having withdrawals and cultural re-shock, Mary Anne gave me two hours of solace. When I'd miss a show I'd feel at a loss as if missing an important doctor's appointment. She always kept everyone ahead of the game. Her gentle laugh intoxicating, her voice as soothing as the deep dubplates provided. When she ventured back to Cali, where she used to reside years earlier, her West Coast Rocks special with XLR8R demonstrated her foresight ability of sonic aesthetics by producers that broke the rules and re-energized the global movement. Exposure of LA's Low End Theory boys and SF innovators like Lazer Sword began a powerful exchange of ideas back to the origins of the UK, and infecting everywhere else along the way. It was undoubtedly taking place without Mary Anne, she simply provided her audience with a panoramic lens to view the global, subcultural movement of bass-weighted material.
When I inevitably made it to Low-End Theory, I was finally granted the opportunity to see her live. Down from SB, I was alone in LA on a Wednesday night after leaving my credit card and passport with the bar at S.M.O.G. the night before. It was a random occurrence that also happened to coincide on birthday. Finally meeting Mary Anne and induced by her gravitating personality and warm, congenial manner, only solidified my admiration for her. The set was outstanding. And when I mentioned I had come down from SB and it was my birthday, the queen granted me a sweet kiss on the cheek... best B-day gift ever.
(Mary Anne Hobbs and Hoodzpah @ Low End Theory, 2010)
Now she's moving on... as she posted a full statement on her MySpace this week:
"Last week I resigned from BBC Radio1, after an amazing multi-dimensional 14 year career. The great freedoms the BBC have given me as a broadcaster, have allowed me to help break so many confrontational artists as diverse as Slipknot and Skream, and of course, the whole genre of Dubstep in recent times. My current Experimental show is in peak condition, it’s never been stronger. And although it’s a very emotional decision to leave the show that I love so much, it’s also an optimum moment to bow out, at the very top of my game. My work for Radio1 on the Breezeblock, Rock Show, many fascinating documentaries about everything from David Bowie to Dubstep, on daytime, at festivals and award ceremonies, has been exceptionally rewarding. These have been glory days not just for me, but for all the artists who have shared my BBC platform, and of course, the listeners everywhere from Beijing to Berlin, Baltimore to Blackpool, who shared a great passion for future sound. I will continue to DJ live, work in film, and curate at Sonar festival in Barcelona. I have also accepted a new job mentoring and teaching students at the University of Sheffield’s Union Of Students radio station, TV station and the newspaper that operate out of their superb Forge Media Hub, which presents me with a really exciting new challenge. My last show on BBC Radio1 will be broadcast: September 8th>>9th … Wednesday night >> Thursday morning… 2-4am www.bbc.co.uk/radio1/maryannehobbs Thank you so much for listening." --Mary Anne Hobbs
No, thank you, Mary Anne. Your show became a staple in my life for a good spell. It will be sad not to hear that lovely, gratifying voice, but we all wish you the best in your future endeavors. You mean the world to so many people, the world over, personifying our passion for music and culture so unique and unparalleled. Can't wait to catch you back in LA for some live action! P.E.A.C.E.
It's about that time of year when we get to celebrate our separation from those damn Britons. These days, in an inescapable global interdependence in which no one is exempt... I generally like to think of myself as a multiculturalist. (I think others will eventually follow suit). Thus, national holidays don't generally exact a high level of patriotism out of me. Especially with the current complexity regarding my relationship to my national homeland. America. However, these holidays do get me quite thrilled. No, not of any homogeneous, nationalistic pride, excreted by trumped-up symbolism... but rather, excitement for the partaaaay! July 4th for myself is up there with New Years, Guy Fawkes Night and Summer Solstice. There's little better than eye-gasmic pyrotechnics exploding in the air over beautiful waterfronts whilst sipping a cold, inebriating beer on a warm, summer night. Northern merchants hand-in-hand with Southern farmers in outlandish toasts of "yee-haaws!!" and "brrooo!!"
Then of course, there's the stomping beats to dance the night away in total freedom. Bless our founding father's for their vision, even if those ideals are in a state of flux as time carries history. For all my Santa Barbara locals and vacationers coming to California's "paradise" for the weekend, there will be plenty of activities to keep your mind, body and soul inundated throughout the day and night. However, I can guarantee with absolute scientific precision, that the place to be in the 805 this Independence Day is Red's Wine Bar.
This July 4th, Underground Souls presents "Short Fuse". (The same collective that brought you the dance floor kinetics last year is back on it again -- just a few blocks away from the West Beach's fireworks display). If you're not familiar with the US crew, they have been throwing underground parties for a few years now. After building a local following in the 805, they have begun to showcase themselves more actively in clubs and other venues throughout Santa Barbara. It's not just the amazing beats and technically well-mixed sets ranging from sub-genres of techno to house to trip hop, then back full circle. Diverse as they all are, this crew encompasses a full sound which maintains a constant state of energy and unity throughout. It's the souls of these people. That's probably why US prides itself on being "souled out, not sold out." Which happens to be something I wish the other "U.S." would do). The close knit relationships of the DJs to the people they play for creates a positive environment unmatched in the Santa Barbara dance scene. Completely open to all people who come with this positivity; sharing life's energy with one human to another, one bass at a time.
Like any dope party, the family of supporters is most important. At they're parties I've come across some of the most pure-hearted individuals I've ever met... surprising, since I've only known them for less than a year. Myself being a complete bass head, usually preferring Dubstep, DnB and Hip-Hop, I generally find myself passing up those events as of late, in order to party with US. That's saying a lot personally, considering the level of passion toward my particular music interests. But the energy their events put into the atmosphere is addictive. If you've never been to their parties, one can't help but feel so much love and affection from "strangers." And not in that odd, substance-induced, full-trip way. Just pure hearts and open minds.
My point is, the anticipated escape to a night with the Underground Souls is something that always brings a smile to my face. I keep typing, but the words can't describe it. You just have to experience it for yourself. The next opportunity is this Sunday, July 4th @ Red's Wine Bar.
::Talent and Line up::
Lyricist IZE (Limbz, Cornerstone) will be rocking the mic.
3:00 - 4:30- Tag Team Set 4:30 - 5:45 - Cam (Deep House, Disco House) 5:45 - 7:00 - Joshua James (Disco House, Classic Chicago House) 7:00 - 8:15 - Rene (Micro Funk) 8:15 - 9:30 - Juntrik (Funky House, Electro)
9:15 - 10:00 - Fireworks (BOOM BOOM BOOM) - Just a couple blocks away @ West Beach, Cabrillo Blvd.
As opposed to last year, the entire parking lot will be ready to rock with a full sound system. Lighting will also include HD 3D visuals with the first 200 receiving the appropriate eye wear. Oh and don't forget the awesome fire spinners, BBQ, drink specials, beautiful people and of course, the left speaker.
Now retaining residency at EOS night club with the next event July 23rd. (Keep up to date through Blacklight Special's blog, linked below). With this momentum, US are making some great moves within the Santa Barbara community. So get up and get out this weekend... and don't forget those reds, whites and grooves! P.E.A.C.E.
I'd also like to thank Michael McCann for the photos. Always on point with the camera. You can catch him shooting for SB Nightlife and his own individual excursions in film, including US parties when available. Check out some of his work below! Bless.
It's raining in beautiful Santa Barbara at the moment, which got me on a down-tempo vibe and thinking of London hailstorms. I must say I don't care much for UK hip-hop. To me, it often sounds out-dated and poorly produced compared to the diverse 'pioneer-experienced' American palate.
Artists such as Roots Manuva, Skinnyman, Braintax, Kaleshnakoff, Black Twang and Jehst (just to name a few) are some exceptional emcees/producers. I also really appreciate how the size and interconnectedness of the UK allows for these amazing hip-hop heads to collaborate together within their respective underground scene. A sentiment that I wish would happen more in the vast badlands of the US.
As a whole, however, I generally find UK hip-hop to be pretty weak... Or rather, not up to potential --that's potential, not standard-- considering their culture's ingenuity. I mean that as sincerely as possible knowing full-well Britain's urban scene is uncompromisingly outstanding. A full year back stateside from the UK, and still grime has managed to far surpass my listening interest over American hip-hop; something I never thought could happen. Trip-hop's now dated, but massive impact need not be mentioned. So Although I don't feel too much of Britain's hip-hop, there are still plenty of diamonds in the rain. But of all places... in Cardiff? P.E.A.C.E.
Attention General Public: Bugout and Doug York are back at it again. One of my favorite hip hop groups, GraniteState, has finally followed up to their 2006 debut release, The Breaking Point. I always wondered how their sophomore album would turn out, since the first effort took nearly a decade to finally bring into full production. A time span which would certainly allow for some polished up, fine tuning. Just three years later their 2nd release, RE:Public, dropped in January. Let me just say, the breaking point has passed… now comes the flash floods, or whatever havoc when granite breaks limit.
The reason why GraniteState has become such a solid force in my eyes is because they are the perfect example of what hip-hop is about. Just ordinary individuals making music to express themselves in hope of making a career as an artist. No glitz and glamour, no glorification of violence, crime or hate. In the 21st century, when everyone is an emcee or producer, GS is a perfect example of the capable possibilities of young men making music for the love of the music, and doing it successfully. GraniteState sets themselves apart by staying true to their reality while keeping it simple and relatable. A large portion of their songs are about the ins-and-outs most people face when moving at the speed of life. The first track gets right into the subtlety soulful, modern boom-bappin’ melodies the entire album explores.
The beautiful intro to the first track, Hectic, is a signal of the non-stop, sonic aesthetics to come, from producers such as Statik Selektah, Evidence (Dilated), and DC the MIDI Alien. Just as their debut did, RE:Public gets into the socially conscious element always present in Bugout and Doug York’s material. The larger difference this effort is a shift from their personal issues and how society affects them on an individual basis (as in Breaking Point), versus expressing their circumstances, and the issues that they deal with, as an idiosyncratic, micro-representation of society (as in RE:Public). Make sense? Probably not. Let the title speak for itself. RE:Public. Regarding the Public.
The two focus on a range of social issues. While maintain a steady, easy listening hip-hop vibe, they are able to address, rather simplistically, the complexities of class status and career, to addiction, misogyny and other social crises. The pair strikes an attitude of even balance in their verses, lying between dark, pessimistic and fateful tones, to critical deliveries of self motivation and individual empowerment. Even if barley visible, in the hazy distance, off the foggy New England coastline.
Under the Influence is a song about addiction using shadowy, chemical substance depictions as a metaphor for their music. The drug imagery, (such as needles) is well crafted to seamlessly allow for a ‘hip-hop addiction’ (I’m getting that popular picture of the turntable stylus sinking into some guy’s arm-- Guy: Your doing it wrong). However, I do believe the lyrics are a reflection of the artist’s own struggles with abuse at some point. I could be wrong, but coming from a person who has admittedly overindulged in toxic pleasures in my day, this track took me back to those hopeless moments of disenfranchisement that come with it. “I’m an addict-- need it all the time, always on my mind/ searching for that line, that I’m never gonna find.” Metaphorical hip-hop or true reflections of drug abuse, it continues to add to the social dilemmas presented throughout the album.
So far, it appears that I’ve excluded any particular characteristics differentiating the emcees Doug York and Bugout. That is primary because the two are so similar. Notable differences do exist; The Breaking Point gave us an individual track from each artist: What Up B?! and Out Of Site, Out Of Mind, were the solo features from Bugout and Doug York, respectively. Check them out to familiarize yourself bit with each artist separately-- they are both amazing songs as well. However talented in their own right, these two bolster one other. Together they create full length songs with double verses of granite-hard depth and substance, dropped by both emcees. I haven’t seen an emcee/emcee pair this strong together since Binary Star, which is quite ironic considering Granite State without a doubt shines most bright together.
Their mutually strong verses also share similar ideological outlooks on a wide array of issues. On American Beauty, GS explores the materialistic and beautification ideals in our society, often leading to vanity driven, self-obsessive qualities in our women. “They say beauty’s in the eye of the beholder/ She’s staring in the mirror, looking at herself all over[…] A material girl, living in a fantasy world.” Another example of equally outstanding lyrics is the shout out to all the “working class heroes.” Work is a blue collar tribute that reflects the everyday struggles of employment. This one hits hard in the current state of our economy at the moment. “Working just to make it up to upper management/ By the time I finally get there the jobs start vanishing/ Outsourced and laid off, where presidents get paid off/ This is the trade-off, we’re told to keep handling?”
Throughout RE:Public, GraniteState makes a consorted effort to elevate their music in hopes of finally achieving stardom. Whether they’ve already done that or not (already receiving critical acclaim independently), is up to comparability I suppose. But I guarantee GS isn’t anywhere near satisfied with their current status, and with their talent I can understand that. Just some ordinary guys, putting in the extra work, to make some extraordinary music. These boys are making some serious moves, so check their steps don’t step on you now. Pure granite tends to be a bit top heavy, innit? P.E.A.C.E.
Regularly taking advantage of a vocabulary that boasts words like “synesthete,” “neophytes,” “attrition,” and “conflagration,” it’s no wonder that Common Market’s RA Scion has a reputation for self-assurance. Using his elevated lexicon as ammunition, MC Scion is leading the movement against the unsophistication and banality endemic in much of hip-hop music today. Most importantly, his lyrics remind us that the MC is poet and wordsmith before all else.
Intricate, versatile rhyme schemes and mellifluous alliteration collaborate to give Scion a unique, if mesmerizing, flow. What’s more impressive, his lyrics offer, at once, the best of both worlds for the hip-hop listener. On the one hand, he challenges the astute to keep up with his unyielding sentence structure, while on the other hand he invites the less ambitious to go with the flow and get lost in the verse. But no matter your disposition, you’ll immediately feel the vibe. Although DJ Sabzi deserves a lot of credit here, bringing to the table sonorous, jazz-infused, easy-listening beats that come well-equipped with heavenly synths, flutes and keyboards to make certain your finger stays on repeat.
On the track Swell, from Common Market’s latest album, Tobacco Road, this duality is apparent in the run-on style of Scion’s writing and delivery: “beat entreat a seeker, teachin’ leadership/ group ‘em through the groove, spike the meter, weaker needles skip/ like defeatist-types, see the sign, retreat, this hype is evil/ might it be what I perceive is aiight’s.” If you’re not careful, it’s easy to get consumed by the internal rhyme and lengthy syntax (this is where many listeners get dismayed; in the first line alone every word rhymes at least one syllable). This makes delivery more difficult, and therefore more laudable, but it can also have the effect of hindering an MC’s ability to successfully communicate his message.
Indeed, critics have voiced that Scion focuses too obsessively on the sound of his sentences, rather than the message, which, they say, is watered down or confused by the constant echoing of syllables and the tendency to string together discordant sentence fragments simply for the sake of maintaining the most aurally pleasing flow. Where this criticism is appropriate for an artist like Aesop Rock, who’s lyrics often come across as unassimilable and largely nonsensical (although impressive sonically) Scion manages to keep his writing substantive.
Let’s face it, every MC is occasionally guilty of sacrificing the clarity of their sentences for the sound of their words. It comes with the territory. The voice is, after all, an instrument. But for the most advanced MCs (and Scion’s one of them) it’s also a tool. And it's a tool fully utilized on Tobacco Road. Almost every track possesses a wealth of wisdom waiting to be uncovered. On the track 40 Acres, Scion's tone is at once cautionary and accusatory: "Hustle grand, seen a demand for organic/ In toxicity limits – infinitely more panic/ they're resorting to importing plants from other planets/ It cancels out the importance of the advantage."
Many of his other lyrics share a similar indignation. One of the best, if most incendiary, tracks on the album, 40 Thieves, acknowledges, and perhaps admonishes, the denigration of society by way of deception and exploitation: "From the makers of placebo, a trio pushed/ To ameliorate the feverish, deceivinest looks/ for thieves and crooks booked up in the state's prison system/ It's marketed disregarding of the rate of recidivism."
And here I can't help but point out one of the more ingenious lines penned on the album: "Thoroughly bred equine, bet he try and cover the spread/ Vignette, butter and bread truck – must've been something I said/ Cinnamon sugar on my raison d'etre." The multiple double meanings and bi-lingual wordplay here are excellent examples of why Scion should be placed in an echelon all his own. I can only hope he succeeds in ushering a new generation of like-minded talent.
In the meantime, I'm hugely digging the ground swell of socially conscious, linguistically complex hip-hop coming out of the Pacific Northwest, especially from MassLine. And I think it’s safe to say you can expect a lot more down the Road from Common Market.
