noise dept.
Fieri Frames
h
Not today Justin
Claire Keane
Doug Jones
PUT YOUR BEARD IN MY MOUTH
occasionally subtle
TMBGareOK. The Official They Might Be Giants tumblr
untitled
Product Placement
Fai_Ryy
"I'm Dorothy Gale from Kansas"
Lint Roller? I Barely Know Her
No title available
The Bright Sessions
The Bowery Presents
Game of Thrones Daily
taylor price
ellievsbear
seen from United States
seen from Italy
seen from United States
seen from Paraguay
seen from United States
seen from Brazil
seen from Philippines
seen from Germany
seen from United States
seen from Japan
seen from United States
seen from Paraguay
seen from Germany
seen from United States
seen from Saudi Arabia
seen from Spain
seen from Nepal
seen from United States
seen from United States
seen from Türkiye
@nothincansaveya-blog
B R B
To anyone stopping by for the first time:
Hi! How are you?
The main author of this blog decided that they were spending to much time writing about hip hop and not enough time making hip hop, so they're on break.
Here are some links from that project:
y--o--u.tumblr.com
y-o-u.bandcamp.com
soundcloud.com/youarecomplete
At lunch: be back whenever.
I may be late on this, but the primary sample for "Shook Ones Pt. II" was finally discovered. Havoc showed his genius while crafting this beat; morphing the melody from what it was into what it is. It blows me away.
(source LA Times)
Playaz Circle - Look What I Got (Chopped n Screwed) (Produced by DJ Infamous) (Flight 360: The Takeoff) (Chopped by DJ P1)
So glad I found this. Been listening to RNT's Chopped versions of Crime Pays and Come Home With Me for a lot of the day (highly recommend), and just stumbled on this. Thank you (crosses). Just can't get over this beat still. A couple of versions of this track chopped on youtube, but this was by far my favorite. Maybe now it'll get more views?
DJ Sorce-1: “Relaxin"was a great cut that didn’t make the album. Is there any more material that you’re going to be releasing online that had to be left off of the album? ST 2 Lettaz: We have another album we’re going to try to try to drop at the end of the year. We’ll go back and beef up a few cuts that didn’t make COHESIVE and then we’ll make a bunch of new joints.
Starlito - Until Then (Produced by P. Rich) (Free At Last, 2010)
This is a perfect beat for Star to just shine on all sorts of topics. Nothing too dramatic that requires a plot; nothing too drowzy that necessitates a close reading of the lines. Instead, we get some chopped guitars and organs/e piano, a central chorus sample that's not much more than a one second vocal, but that gets spliced in such a way that it dances around the other elements, creating an incredible energy and momentum throughout the track. A light vocal pad in the back ties everything to together, and some brilliant electric flourishes create dynamic transitions from verse to chorus and back again.
Lito uses the power of instrumental to touch on any subject of his choosing. Kicking off the track is a solid minute and a half meditation on the reception of gangster rap and Star's own music, catching cases, his difficulty leaving Cash Money, friends turning their backs once fortune wains, hope for the future, and so on:
It's too violent, it's too personal / (Laughs) Okay maybe you shouldn't listen to it / Matter fact go get permission to / I try to tune it out, but this shit in my court deposition too.
No issues about a bitch / If we ain't the same game plan, why coexist? / I noticed this, when everything going good / Ain't no need to leave a nigga's side / But when it ain't party time / I started eyein everybody around me that I see / Just me and my pride.
Street life, where a nigga / That can barely read and write / He'll be alright if he find / A white man to read his rights / Right...two wrongs don't make / Nothin but you wrong twice / And every night alone is such a long night / Once a good girl's gone, I guess she's gone right? / Once a good nigga's gone Fed, niggas don't write / Damn, just wrote my nigga CJ last night / Told him I'm shinin on these suckas / Yeah, I'm on my flashlight / I don't mean to be cocky, but watch me nigga / I'm winnin if I see thirty: yahtzee nigga / Alive at 25 that's just the Pac in a nigga / No longer is this rap / This is a prophecy, bigga / And better things are on my horizon / No more getting caught with bags and heat / And taking pleas under advisement / I've been up, down, halfway round the globe / But that ain't even close / To where a nigga bound to go, oh!
A Conversation With: Clams Casino
spaceagehustle:
With the release of his appropriately titled Clams Casino Instrumentals mixtape, New Jersey producer Clams Casino suddenly found his genre-bending atmospheric boom bap (which had, prior to then, served mostly as a sonic playground for the heretical boasts of Lil B) in the (Internet music press) spotlight.
On the strength of Clams Casino Instrumentals, the physical therapy student by day is quickly earning notoriety beyond the adherents of #based music and seeping into the pages of high-traffic, “destination” music websites like The Fader, Prefix, The Village Voice and Pitchfork, in addtion to a flurry of alt-weeklys. (Not to be outdone in feeding the hype machine, the SFWeekly dubbed him, “The Most Important Bay Area Producer Not From The Bay Area.”)
Slotting in somewhere between Brian Eno’s warm ambient soundscapes, Mezzanine-era Massive Attack, and late 90’s NYC street rap, we caught up with Clams to discuss critical reception of his latest release, digital crate digging, and how he managed to send Soulja Boy a track without any drums on it.
Space Age Hustle: So what has the response been like to your instrumental project?
Clams Casino: It’s been pretty crazy, you know, a lot of people hitting me up now, showing a lot of love, so it’s pretty cool.
SAH: I know you mentioned in the Sound Of The City interview that producing is still a hobby for you, but is the goal to eventually make it a career?
CC: You know, I want it to be professional to a level. In the future, I hope to make more money [from producing], but not my primary job, I don’t think I would want to do that honestly. I look at it like a hobby, it’s what I do and what I’ve always done for fun, so I think it’s working like that and it’s getting out there and people are hearing it, so I want to keep it the way it is.
SAH: Was this mixtape about establishing yourself as a solo artist, and not just a producer?
Nah, it actually wasn’t even about that. I just had a lot of people asking me for certain instrumentals and people that always wanted to hear them, so like a week or two before, a lot of people were asking me [for the instrumentals again] and I kinda just threw it all together and put it out there, and didn’t even think that many people would be listening or that it would get that much of a response from people that had never heard of me. A lot of people that never even listened to the orignal songs got to hear the music, which is cool, I had no idea, I just wanted to put it out for the fans of the original songs who wanted to hear the instrumentals, and it got bigger than I really expected.
SAH: That you sort of crossed over into a more “indie” audience?
CC: I never realized until I put it out and heard what everyone was saying, I just thought it was hip hop beats, but a whole different crowd was getting into them, and I was like, ‘Oh shit, I never even really thought about it like that,’ but it’s cool that it’s grabbing a whole other audience.
SAH: So do you approach your beats as standalone instrumental tracks, or with the intention of people rapping over them?
CC: I have the intention of people rapping to them, because that’s what I mainly do. Well, at least before now, but now I’m thinking about saving some tracks to put out solely as instrumentals, But, before I put this tape out, yeah, I always expect people to rap on them.
SAH: Do you produce tracks with a specific artist in mind?
CC: Nah, when I’m [actually] making them, I don’t really think about who I would give it to, like I won’t really make them for someone to rap on like, ‘Oh this sounds like a Lil B song,’
SAH: Most of the sample sources that find their way into your work are decidedly not hip hop. Is that a conscious decision?
CC: No, I don’t think so, because I don’t really think too much about what I’m going to sample. I have a bunch of files on my computer that I just collected over the years, of just all different kinds of music that I have in folders for sampling, so I’ll just click on something and go through it, mess around with it for a while, browse through stuff and hear something different every time. More just experimenting and browsing through tracks.
SAH: Speaking of experimenting with samples, you have some similarities to, and have worked pretty extensively with, Squadda B of Main Attrakionz. How did that partership come about?
CC: I was doing a lot of songs with Deezy D who I found when I first started working with Lil B, he was hanging out with Deezy D a lot, so I started sending [Deezy] a lot of stuff, and I sent him the beat for “New York Swag” and he sent it back and there were two other people on there and one of the guys was Squadda. I liked it, so I found Squadda on MySpace, sent him a message and started sending him stuff that way.
SAH: You both seem to approach beatmaking from a very non-traditional point of view.
CC: We are always doing so many different kind of things together, and he likes to do a lot of expermienting with sounds, and so I think we are a good match. I’m always sending him different kinds of stuff because he can always come up with something for it, so we work well together and we’re going to [continue working together] for a long time.
SAH: How long does it usually take you to put together a track?
CC: They are all different. Sometimes I’ll work on something for so long, and other times I’ll finish in a day. Sometimes I’ll have everything laid out perfectly, but can’t find the drum sound I’m looking for and I’ll spend days looking for that. That’s what happened with the “The World Needs Change” beat from the mixtape. I had the whole sample laid out and I was trying all these different drums on it for so long and eventually got fed up, and just left them off, but I still liked the sample so I sent it to Soulja Boy like that. I think it works without the drums, but it’s just an example of how stuff happens.
SAH: You’ve had a big influence on the sound of #based music, how do see yourself fitting into that world?
CC: I feel like I’ve definitely influenced some people, because a lot of stuff I hear will be exactly like “I’m God“ or using the same exact sample, that same song, so yeah, I think that after “I’m God” a lot of people were doing stuff that sounded like that, but I can’t take credit for all that, that sound, because Lil B was doing stuff with that same kinda feel before I even started working with him, he was always doing some weird stuff like that, so I definitely feel like I played a part in it, but not all of it.
SAH: On this same idea of influence, who influenced you as an aspring producer, and are there any current producers you are regularly checking for?
CC: Coming up, the producers I listened to the most were Alchemist, RZA, Young L and the Heatmakerz. And right now, Araabmuzik, definitely, I like his stuff a lot.
SAH: So after the success of this instrumental tape, are there plans to release similar projects in the future?
CC: Yeah, I’m working on another tape now, that’s about halfway done, another instrumental tape, that going to be all new stuff. This [first] tape was really for a certain sound and vibe, and I wanted the tracks put together in a single project.
SAH: Definitely looking forward to hearing more, plus you have this current project coming out on vinyl, right?
CC: Yeah, coming out on Type Records. I’m not sure when, but should be pretty soon. So be on the lookout for that.
SAH: Anything we missed?
CC: Just thanks to everyone that listens to and follows the music. I’m glad that I could really connect with a lot of people who listen, and there’s going to be a lot more soon.
-SM
burzyum:
this next g-side record?
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
PS:
I hope he's not talking about a single.
Black Spade - Breakthrough (feat. Rockwell Knuckles and Vic Mensah) (Produced by ?) (Build and Destroy, 2011)
Download Black Spade's Build and Destroy
I found this tape/album on a forum a few months ago and only revisited it as it randomly found its way onto a playlist I made. It's not all gems like this one, but it does have a handful of top notch cuts, and the price is right, so I recommend a listen. The production is fairly cohesive: an interesting blend of early hip hop nineties signifiers with some electro textures that make for an experimental flavor. Parts of it recall Mos Def's The New Danger only with more rapping (less almost rapping)--though I'm sure there's a better comparison that I either don't know or can't remember.
Many of the beats (and vocal tracks) use similar effects to create a larger sense of space--almost ambient on a few tracks--where there would otherwise be a whole lot of simply above average, but unremarkable, production. Spade the emcee reminds me immediately of Jay Electronica, though he seems to be having more fun with his delivery. He also brings to mind Common, but I feel that might be something more related to voice and to subject matter, which can, at times, get pretty corny (yeah, let's rap sort of generically about love y'all). But it's not worth dwelling on the shortcomings of an artist who seems as though he could be doing really cool shit within the near future. Oh and he sings. And not in a boring way (see Drake), but in a way that's interesting, at times beautiful, and, importantly, feels actually necessary for the album to come off as it does. "Running and Gunning" is a perfect example of what I mean:
A gorgeous track.
Mobb Deep - Love Y'all More (Produced by The Alchemist) (?, 2011)
And I would like to thank the people that let bandana P out of jail. And I'd like to thank both Hav and the kid for lacing this true school jam like they got precious stones in their saliva or somethin like that.
Feature Waka Flocka
?
Profit
Killer Mike - Swimming (feat. Rock D the Legend) (Produced by Flying Lotus) (Pl3dge, 2011)
BANG. BANG. BANG.
Here it was coming up one week til Pl3dge (google that shit). And the nets is telling me that it got pushed back a month. I'm certainly "what the fuck" at my computer, then I scroll down to the tracklist.
1. “So Glorious” (Prod. by Smiff & Cash) 2. “That’s Life II” (Prod. by Smiff & Cash) 3. “Ric Flair” (Prod. by Sweatbox Productions) 4. “Ready Set Go” (Feat. T.I.) (Prod. No I.D.) 5. “Burn” (Prod. by Sweatbox Productions) 6. “Go Out On The Town” (Feat. Young Jeezy) (Raz for Beat Billionaire / Grand Hustle Productions) 7. “God In The Building II” (Prod. by The Beat Bullies) 8. “Players Lullaby” (Feat. Twista & Rock D The Legend) (Prod. by The Bizness) 9. “Animal” (Feat. Gucci Mane) (Prod. by Zone Beats) 10. “American Dream” (Feat Big Meech???) (Prod. by Sweatbox Productions) 11. “Everything (Hold You Down)” (Prod. by Sweatbox Productions) 12. “Follow Your Dreams” (Prod. by DJ Speedy) 13. “Swimming” (Feat. Rock D The Legend) (Prod. by Flying Lotus) 14. “Ready Set Go” Remix (Feat. T.I. and Big Boi) (Prod. by No I.D.)
Oh. Fuck.
No comparison between Brandon and Tyler. Brandon was on stage at Santos shouting out The Firm and Cormega. His roots run deep he pays homage but remains progressive he got my goon blessings 100. This nigga tyler be going sock shopping on the internet with the neptunes clones album set to shuffle gtfo brah.
RNT
Starlito - Three's Company (Produced by Broadway) (Starlito's Way 3: Life Insurance, 2010)
Now for Lito the story teller. Oh and I'm going to post a Lito track like every other day or every week or something until people start to listen to the dude more.
Anyway, Lito the keeper of tales isn't on Ghostface level, but at least Big L, I'd say. The last section here (below) is just bonkers. Everything that's been mentioned before returns and informs the story's finale. Honestly, it's a little bit scattered--a lot of the material focuses on his lover, then there's some stuff about himself; the plot only really thickens with the last third. But that third makes excellent use of everything we've heard til then, so it's a good read. And with that beat, it might as well be Mario Puzo. My favorite parts:
This time last year, we was just homies / A few drinks, too late to drive home / You know the rest, homie
They ask where she stay when the money's gone / I say I'll probably be in the cage when the money's gone
Say her spouse is a dealer, tell him to buy two / And if he's plugged in, get him to slide through / You already cheatin, what's another lie or two? / Then she told him I was family, but this isn't true / Thinkin a price drop might equal a trip or two / She told him I do good business, and he listened too / Six months of back and forth, and it was cool / Then things got a little sour when she finished school / He went through her phone graduation night, he'd been a fool / Told her he loved her everyday and he meant it too / She had been down since he was stashin in his tennis shoes / And he had just fronted me when I heard the news / She called and set the phone down, her verbal abuse / I hung up, texted them both "We're through" / Cause he gon hold a grudge, she gon hold it down, what's the use?
Starlito - Nightmares (Produced by Coop) (Starlito's Way 3: Life Insurance, 2010)
IT'S LITO!
SW3 is quickly becoming one of my favorite releases of last year. Lito has all the desirable traits of a great emcee: wordplay, storytelling, wonderful delivery, impeccable beat selection, I could go on.
Anyway, this isn't my favorite cut from SW3, but it's got some of the most jaw dropping constructions on the album.
I couldn't keep a secret, so I told it to a mime / He couldn't keep it either / So he showed it the blind
Got my guap up, that didn't help it / Had some g's on my head Like a Packers helmet / Fell asleep knowin it / Wake up, pack a stan, strapped again / So I put g's on their heads, Packers fans
Let me back up to the packers reference / From the last verse, check my past work / Had the passion to rap backwards / Couldn't rewind or deny the fact that I trapped first / So a diss record might make me get the strap / What's worse the pride, criminal homicide / A threat (?) subliminals, I'mma die / Such a way with words, but shorty I'm not a Nas / Before I ether a nigga, I'mma go kamikaz / People lookin at my like I'm a liar / Nigga I slave for these whips and these chains, Amistad
hotassbeatclap:
reblog and spread
