I couldn’t get this published anywhere, so I’m posting it here. I think it’s really worrying that there are so few places in which we can talk about artists’ politics, even when they are actively dangerous.
Another older release by an artist named Jun Togawa (戸川純). With a vocal range that can go from childlike and demure to theatrical and operatic and an unconventional style that dabbles in the macabre one could arguably say she helped pave the way for other artists such as Kyary Pamyu Pamyu. A song laced with new wave inspired synths, a stinging continuous piano and really catchy chorus that consists of the lines
"KISS ME Like a punch as blood stains my lip! HOLD ME As my ribs are breaking! I love you so much! I love you so much! I love you so much! Say you love me or I’ll kill you!” One can easily see why. Here is 好き好き大好き (Suki-Suki-Daisuki)
Jun is literally the most important artist to ever live
clearly, the Dutch screwing gabber to the most their Technics would allow wasn’t enough for the Italians, aka the underrated gods of blaring 4/4 desolation (see Dance Pollution, Explosive, etc), so Gigi D’Agostino (yes, that Gigi D’Agostino) threw it all the way down to 100 BPM, called it lento violento (literally “slow and violent”) and bedroom DJs took it from there since then. the result is a dank, grinding construction, going from perverse 85 bpm thrashing to the slurred, out-of-sync trance-esque bootlegs of the above. it’s like burnt-out warehouse dembow. truly #kunq.
the alliance producer army (prod. by profit beatz) chozen
araabmuzik’s electronic dream landed in mid-2011, drove a few purist rap dudes and resident advisor commenters crazy, excited two music critics and a few actually decent people, and then completely disappeared as araab counted his money and went into the lucrative Festival Trap Banger business like it never even happened.
alas, Electronic Dream was only a small snippet of something a few soundclouds’ worth of dipset affiliates have been doing for eons under the Trance Party banner. this is the air-raid MPC boom-bap formula tuned to a science. trance tracks of dodgy quality pummeled into oblivion with super-compressed percussion, glass and metal in every directionas you both (1. have your hands in the air (2. let serrated bass and treble pressure make you move/cower autonomically. anxious emotion dripping in 45 to 150 second bursts.
this stuff is kind of like junk food, albeit junk with an uncanny sense of scene-setting, tension and release. this particular tune is probably my favorite of all six tapes (the first three seem directly affiliated with dipset, whilst the last three are connected to a group called The Alliance - Producer Army), the logical conclusion of the terror-trance formula with the biggest drop in recorded music history. however, the sound can be tweaked in every possible direction, especially in the case of the fourth installment, which goes on for a mind-bending 100 tracks and 3-and-a-half hours. montana musiq’s “roses” is gurgling toytown trancefeminine choppery (seeing cam’ron decked up in the pink fur), while “black 2” is on a staccato gunshot groove and “box full of clips” scares the living daylights out of you. araab himself has a few tunes on this tape, but they pale in comparison with dipset’s underdog producers, the ones you never hear about. top it off with a cover from hi-def net art favorite and fellow trance specialist tabor robak and the package is perfect.
mind you, i’ve only mentioned a few songs on the fourth tape. the fifth and the sixthare just as destructive. killa caaaaaaam.
You can tell a lot about someone by the music they listen to. Hit shuffle on your ipod/iphone/itunes media player and write down the first 10 songs. Then pass this on to 10 people
1. Autechre - Maphive 6.1
2. Games - Strawberry Skies
3. Fat Jon - Losing You
4. 坂本龍一 (Ryuichi Sakamoto) - A Tribute to N.J.P.
5. King Louie - Po’ Up
6. Ricardo Villalobos - What You Say Is More Than I Can Say (Edit)
7. Beat Happening - Crashing Through
8. Pet Shop Boys - Later Tonight
9. HAIM - Let Me Go
10. ventla - smuggled 012
hmmmmm…. this says a lot about how i don’t actively listen to A Ton Of Stuff In My Pointlessly Huge iTunes Library. i’ve only listened to like, the ventla, king louie, and PSB tracks within the last year. the rest is stuff i still haven’t listened to (that sakamoto piece, that one haim song) or stuff i jammed a loooooot in 8th+9th+10th grades (that one games song* / fat jon / autechre / villalobos / beat happening)
*despite having Laurel Halo in it, I don’t like Strawberry Skies that much compared to the rest of the That We Can Play EP which GOES IN HAM AF
Mid-00s British kids swapping proto-nightcore ballads and last night’s jerry-riggedchipmunk bouncy techno edits via Bluetooth—bedroom hardcore, or school bus donk, constructed in small bedrooms in small flats, meant to be blasted on small PC speakers or cellphones, accompanied, maybe, by a small country’s worth of devotional MySpace and Bebo gif slideshows and a decade’s worth of compression. Heart to heart, dedication, devastation.
boosh boosh boosh boosh boosh boosh boosh boosh put your hands in the air
Ethereal document from a time when European rave was going off in every direction imaginable after everyone but the British got tired of breakbeats and everyone, even the Belgians, got tired of well, Rave. Hardcore, gabber, funcore, happy hardcore, makina, hard trance, dream trance and bouncy techno all existed and didn’t at the same time, sounds going everywhere and BPMs all over the place, the prices of computers and sound modules and synthesizers dropping by the day. The scenes and sounds were both cliquish as hell and weirdly freeform and malleable.
Enter Raver’s Nature—three German dudes who cut out the breakbeats and pianos of early happy hardcore and went straight for digital delirium, pumping out (actually quite popular!) singles out that went up to 200 BPM, used enough reverb to put every 2009-era indie band to shame, and cranked up the high frequencies like a sugar rush in an airplane hangar (combine this with knowing that these tracks would also be played in abandoned hangars and massive fields). Hands Up Ravers is their best moment, all these elements at their zenith to produce a searing, intense, clusterfuck with racing, weaving melodies that manage to envelope you like the best dream(y) trance (overclocked to the nth degree). This is what hardcore should’ve been, what happy hardcore refuses to be, what J-core and makina are attempting to do, and what will probably never be surpassed.
Also worth noting this tune spends just as much time without the kick drum as it does with. Sailing on synths without the kick, the momentum and atmosphere only increases, and god knows this song would be just as amazing if it had no kick at all.
At the time there was still wiggle room, and enough kids who haven’t burned out on E yet, for happier producers to get away with making tracks that sounded like they were played at 45 RPM—it’s seriously been upwards of two decades since the last time a happy track north of 180 BPM entered the mass rave consciousness outside of Japan. Be real, 170 is as boring as 128.
On the morning of Sunday Aug. 10, 2014, a crowd of people continued protesting, gathering at the Ferguson police station
After a press conference, reports claim that there was a “struggle over the officer’s weapon" and that Mike Brown assaulted the officer who shot him. However, witnesses say that’s not what happened.. and they all have the same story (x) (x) (x)