Matt Papich has devised and organized an album that is as luxurious as it is perplexing. The latter is what really holds Moody Coup together under an array of sweating, jeweled 80’s synths, ghostly, polished samples and complex sub basses that rattle, astound and relax.
The album as a whole speaks transcendence. It creates a vortex for the mind to dwell in. Composed on Ableton live, at first listen, it’s difficult to pinpoint his structure Papich is designing. On second listen, it becomes even more difficult to find a solid form within the stellar liquid. On third and fourth, Moody Coup only begins to scratch at the surface of one’s musical palette, letting in more colors and shapes with every listen. It is an amorphous blob that vaguely resembles gasoline spilt on the ground after a rainy morning with the sun just barely glistening off of its incandescent beauty. Yeah, ok, I admit it. I am pretty much in love with this album; hence, the review will read as such. A love story, as some of my reviews turn out to be.
Although it is faithful to its ever-growing musical concept, Moody Coup has a definitive minimal tech and house presence seeded not so far underneath the lush experimentation. It has rhythm that lasts for days and keeps one’s mind dancing in an orbital backdrop. It is a definite head album, one that rocks the listener around a set of circumstances that seem to have nothing in common but in the end are so intimately related that you almost feel like everything and nothing makes sense at the same time.
This, to me, is quite the feat and something I strive to do with my own creations. Matt Papich has accomplished this seemingly complex task while retaining it in an environment where space is the protagonist. Because it isn’t jam-packed with sound. It isn’t flouting on distortion or noise frequencies. It grooves on emptiness, using the void as its canvas to craft truly remarkable beats. Here I go again, my praise… but just take “Remarkable Features” for instance. The track, although polyrhythmic and incredibly dynamic, has a definitive quite side to its seemingly catatonic future beat production. It retains itself in a meditative state frolicking from minimal to ambient, to bouncing tape deck sounds to an almost early 80’s disco aspect that wobbles around glossy even slightly psychedelic synths. See, that was a mouthful. It reads as a mouthful. It truly is a mouthful. But the beauty is that it doesn’t taste like a mouthful.
It tastes like a portion just right for the progressive palette without clouding the listeners vision. It gives you enough room to breathe and decide what exactly it is you see and feel within the audio painting.
Papich speaks of interruptions. He claims that he enjoys working and producing in spaces where domestic interruptions are prone to happen. This is quite beautiful, really. And with his music, it works and comes off incredibly well. It has a sense of Dadaism that is impeccable and incredibly tasteful, vast in musical knowledge and love. Take Burroughs cut-ups and apply it to music. Sprinkle that with deep house, meticulous samples, field recordings and retro-future synths and you have the beginnings of what Moody Coup accumulates.
“Deaf Christian” is sort of like the “banger” on the album. Listening to “Deaf Christian” is like visiting Du-Op on some alien raver planet that has a vast, encyclopedic knowledge on electronic music and recording techniques. Is you can’t imagine what Du op and electronics sound like, well, this is a pretty remarkable place to start. “I’m living right next door to an angel…”
I know an album is a success when I need to listen to it on repeat, back to back. This has been going on all day so that’s… 10 listens? Maybe more? I am ecstatic and gleeful because Moody Coup demonstrates and flexes the realms where electronics can blend into organic structures and visa versa. A truly cathartic and enlightening experience that I HIGHLY recommend to anyone. Definitely one of the best releases I have come across this year. Matt Pipich, I applaud you.
Order a copy of the album by Clicking Here
Indian producer and director Mira Nair is back with another film this year in the politically slanted feature The Reluctant Fundamentalist. Adding to her growing collection of ground breaking films since the 80′s, this new project of hers touches on the complex dynamic that formed in the fabric of America’s consciousness post 9/11. Written by William Wheeler and produced by Lydia Dean Pilcher, the trailer details a large sense of the plot, character types and filming style but still leaves much more detail to be desired. A perfect balance considering the weight of the topic that rests at the heart of the plot and all the variety and scope of scenes that are shown in the trailer alone.
Turning down work on Harry Potter due to her desire for emotional based work and non computer generated film, Mira Nair remains an uncompromising force in modern cinema and stands as a true visionary to the fundamental principles of film making. The importance of The Reluctant Fundamentalist is very real considering the cycle of hate that stems from media influence and fear. Check out the press statement and official trailer below in our latest Hot Trailers feature.
We begin in 2011 in Lahore. At an outdoor café a Pakistani man named Changez (Riz Ahmed) tells Bobby (Liev Schreiber), an American journalist, about his experiences in the United States. Roll back ten years, and we find a younger Changez fresh from Princeton, seeking fortune and glory on Wall Street. The American Dream seems well within his grasp, complete with a smart and gorgeous artist girlfriend, Erica (Kate Hudson). But when the Twin Towers are attacked, a cultural divide slowly begins to crack open between Changez and Erica. Changez’s dream soon begins to slip into nightmare: profiled, wrongfully arrested, strip-searched and interrogated, he is transformed from a well-educated, upwardly mobile businessman to a scapegoat and perceived enemy. With time, he begins to hear the call of his own homeland. Taking us through the culturally rich and beguiling worlds of New York, Lahore and Istanbul, The Reluctant Fundamentalist is a story about conflicting ideologies where perception and suspicion have the power to determine life or death. – IFC Films
Here at Sound Colour Vibration, we are all about valuing the immeasurable power of beautiful art and music. There is nothing quite like being immersed in the flood of love and joy and purely indescribable emotion that fills the most intangible, and yet real spaces within when one first hears or sees a piece that speaks to their soul. The entirety of our purpose here is to share that caliber of work that leaves us remembering who we are and why we are here. This level of work is to be respected, cherished and supported.
One particular artist who lives up to this role in creating such work is Miguel Atwood-Ferguson, a recording artist of Los Angeles based imprint Brainfeeder. His contribution to so many musical endeavors is purely remarkable, he describes himself as a composer, orchestrator, conductor, multi-instrumentalist, producer, educator, DJ, music director, and has participated in supporting countless musical projects. His time has come to finally channel his immense wisdom into his very own solo album, and we are here to shower him with our endless support. We ask that you will join us in returning to him what he has given so selflessly to others. He continues to be so very generous in donating his time, money, and his soul’s talent to so many who are trying to fulfill their musical aspirations, and it is time for the circle of generosity to fully complete. Miguel will be releasing his debut album on Brainfeeder along with an additional project Quartetto Fantastico that he is simultaneously working on. With guest contributions from luminaries such as Herbie Hancock, Thundercat, Madlib, JRocc, Mia Doi Todd, Flying Lotus, Daedelus, Karriem Riggins, Deantoni Parks and many others involved, the album will surely be a very important contribution to the creative evolution of music in the 21st century. Miguel currently has the working title for his debut Brainfeeder LP as Les Jardins Mystiques.
This life is about helping one another. None of us could make it anywhere completely on our own, and it is these small acts of help that enrich us fully and remind us of our interconnectedness and responsibility in pushing each other to our highest potential. We ask that you consider donating anything possible to this beautiful project. Your hearts’ faith and courage in supporting this movement will be rewarded, and the more we offer our unconditional loving kindness and support to one another, and realize with our actions that interdependence is the highest universal law, the more fulfilling our life experiences will be. There is a karmic principle that if you desire to be rewarded in fulfilling your own cause, that you should donate to one similar to yours. We invite you to experience the gift of giving with us, and to keep propelling Miguel’s ability to share this other worldly work that he has in store for us. With endless gratitude from all of us at Sound Colour Vibration! So be it, friends!
Please donate anything you can to Miguel’s Indiegogo campaign by Clicking Here
From Miguel Atwood-Ferguson | http://miguelatwoodferguson.com/
I grew up in beautiful Topanga Canyon, tucked away in the hills of Los Angeles County, to a diverse and artistic family of musicians and educators. Despite playing music my entire life, performing thousands of concerts and recording on well over 500 records, films/tv shows and commercials, I have not been able to afford the time and money needed to record my own albums. Even though my path as a musician has been an awesome and emotionally fulfilling journey, most of my gigs don’t pay enough for me to make ends meet, let alone build a sustainable foundation to one day raise my own family.
Currently, as a freelance artist between unpaid gigs, I have no money and have not even been able to pay my own rent the last two months… In my experience, in most cases, the gigs that pay the best are often the least creatively fulfilling, and the most fulfilling gigs from a creative and emotional perspective pay either nothing, or an extremely small amount.
This is the most critical time so far in my entire life and with your help, I will be able to seriously break through with the production of my own recorded work!!!
Please donate anything you can to Miguel’s Indiegogo campaign by Clicking Here
On June 11th, Warner Bros. Home Entertainment will release a very special 40th anniversary version of Robert Clouse’s 1973 martial arts masterpiece Enter the Dragon as a collectors set in the Blu-ray format. Bruce Lee remains one of the most gifted martial artists to walk this planet and this is one of his crowning achievements through his ventures in film. Robert Clouse was a director known for adventure films with intense scenes through out and Bruce Lee’s sheer technique and ability gave the director an edge none of his other works contained. A perfect pairing through cinema that brought the medium of martial arts closer to the hearts of the rest of the world. Original soundtrack score was contributed from Lalo Schifrin, another vital component and contemporary genius behind the final results of this martial arts epic. The new Blu-ray ultimate collectors set for Enter The Dragon is scheduled to release on June 11th and we are really excited to get our hands on a copy. Full details below.
Pre-order this release directly from Warner Bros. Home Entertainment by clicking here.
The plot of the Enter the Dragon revolves around outstanding martial arts student Lee (Bruce Lee), who is recruited by an intelligence agency and then uncovers the evil Han’s (Kien Shih) white slavery and drug trafficking ring located on a secret island fortress. Along with martial arts champions Roper (John Saxon) and Williams (Jim Kelly), Lee infiltrates the stronghold and enters Han’s brutal tournament. Lee and his partners fuse skills in Karate, Judo, Tae Kwon Do, T’ai chi ch’uan and Hapkido, in a now classic fight-to-the-death epic battle, all staged by Lee himself. Bruce Lee, John Saxon, and Ahna Capri star in Enter the Dragon, which co-stars Bob Wall, and Shih Kien and introduces Jim Kelly. Music is by Lalo Schifrin. Written by Michael Allen, the film was produced by Fred Weintraub and Paul Heller in association with Raymond Chow. Robert Clouse directed. – Blu-ray.com
Commentary by producer Paul Heller
New Featurette No Way As Way
New Featurette The Return to Han’s Island
New Featurette Wing Chun: The Art that Introduced Kung Fu to Bruce Lee
Interview Gallery featuring Lee’s wife, Linda Lee Caldwell
Backyard Workout with Bruce Lee
Curse of the Dragon
Location: Hong Kong with Enter the Dragon
Blood and Steel: The Making of Enter the Dragon
Personal Profile Bruce Lee: In His Own Words
Seven TV spots
Hundred Waters has been in every corner of the media sphere this year, launching out premiere after premiere of new material from their upcoming OWSLA Records Boreal EP this month. Including remixes and remakes, the latest track to be premiered through the internet is a Teebs remake of “Boreal” from their debut album, released today at Pitchfork. All of the producers present on the EP are focusing on the Hundred Waters track “Boreal” and Teebs turns out the most celestial and earthy version of the set. As a completely new direction into sound and not just a remix, Hundred Waters Nicole Miglis adds new vocals to this remake. Nicole Miglis had this to add about the shaping of the track (via Pitchfork): “Teebs originally sent us a remix in 2 parts, the first half being more like a remix and the second half being this hypnotic thing. I asked Teebs if he’d be down to collaborate on the second half and sent over some vocals. Then Teebs did his Teebs magic and came out with this track. We really love what he made. If someone were to paint the song, I think this is how it would feel.”
Expect to see the Boreal EP drop on OWSLA March 26th.
The Dillinger Escape Plan’s new LP ‘One of Us is the Killer’ now available for pre-order | Music News
New Jersey’s The Dillinger Escape Plan are one of the greatest rock bands making music still, releasing a body of work over the last 15 years that has notched out a defining location in modern, progressive and intense music. The band has come together for a new LP release in 2013, officially launched the pre-order bundles for their latest full length One of Us is the Killer today. The upcoming album from TDEP will be released with the newly influential label Sumerian Records in every format along with the bands imprint Party Smasher Inc. and BMG for world distribution. The first track to premiere from the new album is “Prancer” and has been released via iTunes. “Prancer” was also released through Sumerian Records YouTube page and is a mind blowing and intense ride of energy that is very rewarding to hear from this seasoned group. The progressions and velocity is unreal and hit us like a ton of bricks today. Check out all of the pre-order bundle packs for One of Us is the Killer by Clicking Here. The group will also be hitting the road this year for many dates around the world, check out the full listings here.
The following is a statement the band revealed through their social works and is very enjoyable to read considering the anticipation around the album.
“Words can’t describe the feelings right now as we begin to present this album to you today. There are a million different things we’d probably like to say, to one another and to all of you, but pages couldn’t contain. So here you go. To everyone that’s been on this ride for a while, thank you, and to everyone just getting onboard, welcome. We’re grateful for the ability to express ourselves artistically, to be able to release a piece of our souls through music and words, and we’re proud that any of you can relate to our expression or get something out of it in any way…that our band and what we do means anything at all to you. ” – The Dillinger Escape Plan
Young horror legend James Wan (Insidious, Saw) is back in the director’s chair again with his latest genre effort, The Conjuring. Over the years, Wan has tattooed the images of puppets, weird clown masks, and terrifying horror into our minds. In the latest look at The Conjuring trailer, we’re joined with veteran actors Patrick Wilson and Vera Farmiga, who are playing as a family encountering spirits living among them in their New England farmhouse.
James Wan (born 27 February 1977) is a Malaysian-born Australian producer, screenwriter, and film director of Chinese heritage. He is widely known for directing the horror film Saw and creating Billy the puppet. He also directed Dead Silence, Death Sentence and Insidious.
Wan was born in Kuching, Sarawak, Malaysia of Chinese ethnicity. He was raised in Perth, Western Australia from a young age. It was his dream to make films from the age of 11. He went on to study at the Royal Melbourne Institute of Technology, completing his Bachelor of Arts degree.
Before becoming popular in the film industry, he made his first feature film Stygian with Shannon Young, which won ‘Best Guerrilla Film’ at the Melbourne Underground Film Festival in 2000.
He met future business partner Leigh Whannell while studying at RMIT. He would later go on to co-create and direct the 2003 horror film (and franchise), Saw with the help of Whannell, who wrote the script. Wan and Whannell made a short version of the film to showcase the script. Whannell played the role of David in the short film, and the leading role of Adam in the feature film. The three producers who saw the short film and read Whannell’s screenplay agreed to produce the film before Wan and Whannell even landed in Los Angeles. Wan and Whannell decided to forgo upfront salary in return for gross profits. Shot for a low US$1.2 million budget, the producers had a straight-to-DVD release in mind. However, Saw was to become a surprise record breaking theatrical horror franchise, earning Wan and Whannell much more than they had originally predicted. *From Wiki
“We think craft is important, and the irony has always been that horror may be disregarded by critics, but often they are the best-made movies you’re going to find in terms of craft. You can’t scare people if they see the seams.” -James Wan
Have you ever had your significant other complain that the movies you go to aren’t made for the both of you? Look no further, writer/director Jonathan Levine’s Warm Bodies is a hybrid of a horror-romance story that is perfect for said scenario. In this flick you get all the gore, all the brain-eating, and also a coming-of-age lovey dovey formula that your better half always yearns for. Nicholas Hoult (X-Men: First Class, Skins, About a Boy) and Teresa Palmer (I Am Number Four) team up for a wild and crazy film that shows there is much more humanism in the zombie genre, much to contrary belief. R (Hoult) is a zombie that comes upon his prey, Julie (Palmer), with a sudden change of heart. Instead of brutally murdering her and eating her insides he falls in love. From then on we enter a world of “mashup genre” that has seemingly taken control of the current Hollywood trends.
Last week, I had the chance to sit down with Nicholas and Teresa to discuss their take on the horror genre, what Warm Bodies means to them, and all the fun they had making the movie.
Interview with Warm Bodies stars Nicholas Hoult and Teresa Palmer
Conducted by Pouya G. Asadi
Pouya G. Asadi: Once upon a time, you guys both sat down and read the Warm Bodies script for the first time…after you finished reading it, what was the first thing you envisioned in your head? Was it your character on the big screen? Or maybe it was the power of the visuals explained?
Teresa Palmer: The power of the visuals for me….well not the visual effects per se, but how it was going to look, what that post-apocalyptic world was going to be. I thought if I could see myself in that world…gosh it was such a strong script wasn’t it? [Looks at Nicholas Hoult who leans over with a bowl of rocks and offers it to me] They’re chocolate by the way, you want to try some? Everyone thinks they’re stones but they’re not, they’re chocolate.
Yeah. [I take a handful]
Teresa Palmer: Yeah, they really are chocolate by the way, it’s amazing. But no, I just thought it was a really great mashup of genres, like comedy and romance and action and zombies.
Nicholas Hoult: I think I saw the character first, not really the visuals. [We're interrupted by a loud squeaking chair, the entire room laughs] Yeah, it was more of the character for me, I didn’t start out really thinking about what [R, Hoult's character] looked like, I was more gravitated to what he’s about.
Nicholas, What was some of the zombie research you did?
Nicholas Hoult: Oh, I watched nearly every film with “dead” in the title. But we also watched a mixture of other things. Edward Scissorhands, you know, similar films where the characters don’t really talk as much but have to express themselves in other ways. And then, what else did we do? [asks Teresa]
Teresa Palmer: You had the Cirque Du Soleil…
Nicholas Hoult: We had a Cirque du Soleil guy come in and kind of practice zombie movements.
Teresa Palmer: And then videotaped them and I got to watch them, it was hilarious. Running through the room.
Nicholas Hoult: Yeah, Rob Corddry and I practicing our zombie runs. [laughs]
Teresa Palmer: Nick was saying that they would all be in a room and the guy was like “pretend there’s brains over there in the corner, now go for the food!” And they would scramble into the wall.
Nicholas Hoult: [laughs] That would be a good one, and we’d have to be like AAHHH, Yummmm, Brains! [laughter] There was that and I think getting a consistency to [being a zombie]. Then (director) Jonathan (Levine) and I would have to work and see how to develop that throughout the film. To be comfortable doing that number, understanding all that so during shooting I wouldn’t have to think about being a zombie, I’d have it down so I could be worried about the characters around me and what THEY’RE thinking.
Teresa Palmer: I didn’t have to do much research at all [laughing]. I just watched Edward Scissorhands, and created a back story for my character. I really wanted to be present in the scenes and see what [Nick] would be throwing at me without the usage of words, and he gave me a lot to work off of, it was great.
Nicholas Hoult: Who? I didn’t create your back story.
Teresa Palmer: You don’t want me to have a back story because you don’t know what my back story is.
Nicholas Hoult: Exactly, so I was very lazy, and I was like “well the character doesn’t know it, so I don’t have to know it.”
Did Jonathan throw any silent films at you guys?
Nicholas Hoult: No silent films.
Teresa Palmer: I think Jonathan really just trusted us, and cast us and was like “you follow your instincts, and if something doesn’t feel real, switch it around, throw in something that feels more authentic to you.” Jonathan wanted it to feel grand in reality, despite how extraordinary the circumstances are in the script. He really wanted regular people to connect to this story. It’s almost representative to what it does feel like when you first meet someone and it’s that weird awkward beginning of a relationship and the guy doesn’t know how to express himself. The girl’s overcompensating by talking a lot, which is kind of what I’m doing right now. [laughter]
I was wondering aside from the stunts and other physical feats in this film, What did Jonathan and his team teach you two during the Warm Bodies production?
Teresa Palmer: Just kind of keeping it loose and don’t feel too married to the script. For me, I’d finish the take and I’d ask him “do you mind if I kind of change this?”, because I’ve been on other sets before where the director is sensitive about the actor changing the words and dialogue around too much, but Jonathan would say “yeah, please! Go for it! Do what feels right to you! Make it genuine!” That is so liberating and that’s definitely one of the things I loved about working with Jonathan.
Nicholas Hoult: The whole environment on the set, from Jonathan and the producers and everyone, was just to have fun and they taught everyone to be relaxed. That just makes it very easy. You know sometimes you go onto a set that’s tense, and they’re struggling for time or people are stressed out, not knowing what to do. It wasn’t like that all, the crew and everyone just let it all happen. You know, you mess up, you laugh, “that’s OK, we’ll do another one, we’ll do this.” Just trying other things out.
Teresa Palmer: Yea it’s like being injected with liquid confidence, like “ohhhh this feels GOOD!”
Nicholas Hoult: Yea, it felt really safe.
Teresa Palmer: And your best work comes out of a safe environment…positive, enthusiastic, passionate environment, and then you feel free to explore different things, and find these spontaneous moments that weren’t written in the script. I really think it’s important for directors to set that tone on set, and when they do they have great results. I think…I hope.
Throughout all the brilliant auteurs and incredible directors you’ve both worked with in the past year or so, what’s it like to be so young and working with someone as amazing as Terrence Malick, Teresa? And Nicholas, how is it working with Bryan Singer or on a set with George Miller, how does it all add to your craft?
Teresa Palmer: It’s like the best acting school in the entire world. I learn with everyone I work with. Terrence (Palmer worked on his film Knight of Cups) has been such an incredible inspiration to me. The experience I had on that film has encouraged me to make my own movie that I’m filming at the moment. I’m also producing it, it’s a very guerrilla-style way of shooting; blurring the lines of reality and fiction and that’s what Terry does so well. I just learn from these greats. I’m in awe when I’m around them, it’s very surreal.
Nicholas Hoult: For me it’s all the different styles of directing and all the different styles of acting around me on these sets. I love to watch how these all mold together and how people get different results, or even similar results from different methods. It’s fascinating. I remember one day I was speaking to George on this movie we were making (Mad Max: Fury Road). I asked him how he thought the film was coming along and he seemed happy. But I was like “c’mon man, you pumped about it? You’ve been waiting to make this film a long time.” And he said to me “yeah, but I try and always keep an outside perspective on everything I make. I got to try and look at it from an audience point of view. It would be very easy for me to get swept up in the excitement of it all, to see things better than they are with rose-tinted sunglasses on. Because it’s my project and I care about it so much so you got to step back from it a little bit.” And I thought that was a great thing for a director to do, to be so involved and care so much about something but also be able to disengage and see it from the audience point of view and make sure it’s not too self-involved.
Nicholas Hoult: If this film does well and people like it then I’d be thrilled because I really enjoyed making it. And either way, even if it doesn’t do well I had a great time making it with fantastic people and I’m proud of it. I haven’t even begun to think if it’ll be a break out thing, because you know you don’t want to count your eggs before they hatch, you kind of just go along for the ride, you never know what’s going to happen. If it did become a role that I was known for, I’d be happy because I really care for it and I like it.
Teresa Palmer: That is exactly the same for me. I haven’t thought about it in terms of what it will or won’t do for my career. I’m very proud of the movie, I love the character Julie, I’m so connected to her. I miss R, I miss being in that environment. I haven’t actually had that in a film before where I walked away and I thought “God I miss being with R, and I missing being in Julie’s shoes.” And that is really special…and rare. So that’s fantastic and I hope that that feeling that both of us had can really translate into this film and if it does, and it finds an audience then that just makes it even better.
First Davie Bowie announces a new album and launches a music video and now Depeche Mode follow in high form with the release of “Heaven”. Formed in England in 1980, the group has released a dozen full length albums since then and looks to gain new footing with this generation in the release of 2013′s Delta Machine. This video release is a beautiful surprise and we hope this has a positive affect on the sacred nature of music in this digital age. Sometimes you need groups from past eras to bring back what is important and strong in the framework of how bands product and artistic creations are valued.
Music video by Depeche Mode performing Heaven. (c) 2013 Venusnote Ltd., under exclusive license to Columbia Records, a Division of Sony Music Entertainment
This is one of those finds that is worth every moment of the time put into this website. Love getting sent music this good! Full details about this band below, full review on their latest full length coming soon as well. Check out the full length from their Bancamp HERE.
THREE SECOND KISS – the story so far: 1996 – 2012
Born in Bologna, first record dated in 1996, 6 records so far, two works recorded by Steve Albini (Music out of Music on 2003 and Long Distance on 2008) and one by Ian Burgess (producers of bands like Shellac, Jowbox and Cows), 3 United States tours – one with June of 44 in 2000 and one with Shellac in 2009 – TSK are the first Italian band to be invited in 2002 at the prestigious All Tomorrows Parties festival UK, on the list together with such names like Bonnie Prince Billy, Shellac, Breeders, Smog, Shannon Wright, Shipping News and many others, and they will perform on the current 2012 special ATP UK edition (nov/dec 2012 – The Nightmare before Christmas) together with bands like Shellac, Wire, Mission of Burma, to name just a few.
TSK records have been distributed in Europe by Southern records (with the record Everyday Everyman – on 1998) and then in USA by Dischord rec. from Washington DC (with the record Focal Point – Slowdime rec. on 1999 and Music out of Music on 2003). Today the band is happily home based with the French label Africantape rec,
that put out Long Distance on 2008, the previous record, and that has just released the newest Tastyville. There is a lot of way to do. Never look back.
Massimo Mosca – bass & vocals
Sacha Tilotta – drums
Sergio Carlini – guitar
Beginning in the Summer of 2012 with his Low End Theory guest spots, DJ Shadow’s “All Basses Covered” set has morphed and evolved to incorporate as many different contemporary genres of urban and electronic music as possible. From hardcore rap to footwork and juke and beyond, Shadow has combed the web to curate seamless and dexterous blends of the most progressive sounds bubbling up from the underground. ‘Too hard?’ ‘Too future?’ Or just too raw? As always, DJ Shadow has provoked crucial flashpoints of discussion about the discipline of DJ’ing that have defined our turbulent times. -DJShadow.com Team
I am going to put it out there, I feel Inspectah Deck is one of the most accomplished lyricists in hip hop history. His versatility on subject matter and execution of his rhyme meters and flowing tempos is incredible. His contributions to the Wu-Tang Clan, affiliates of the clan and solo work have stood for excellence. The still young MC has gone into a new collaboration with 7L & Esoteric for a new release on the independent label Brick Records. Full info below along with a preview clip from archival material captured during the process of this new LP.
From Brick Records |
BRICK RECORDS ANNOUNCES FEBRUARY 19, 2013 RELEASE OF CZARFACE: FULL-LENGTH HIP-HOP COLLABORATION BETWEEN INSPECTAH DECK AND 7L & ESOTERIC