thats what you get for being a fucking asshole to catchers (and furiously throwing baseballs into the stands) this week, nyjer morgan. hanley ramirez SLID into home like a real baseball player and won the game for the marlins, instead of affirming himself as a douche like you did. unlike phillies fans, i can dig the old-school high socks, but you’re going to make your manager bench you for your own safety AGAIN tomorrow. damnfool. brett hayes > you. you’re going to spend your whole career on the pirates and the nationals, and that makes me giggle a little bit inside.
oops. i got really caught up in watching videos of eduard khil (the trololo guy) perform back in the day and be a super gracious russian gentleman in 2010 and get remixed like a motherfucker by everyone on youtube…..and then safari shut down. not surprised, or even disappointed really, because the first time i saw the video i think it was labeled as “the end of the internet/world.”
i hadn’t even gotten to this one though! holy shit….epic doesn’t even begin to describe. i can barely believe that my router didn’t explode. rick astley is a bum; russians have trolling down to a science. i think i need to end my addiction with tonight’s sleep…..spontaneous combustion = not cool. i have so much left to do on this earth.
I can Imagine myself in Afghan in some guerrilla warfare combat mission killing everything in site with this shit playing on a massive speaker. It just gives me that middle eastern feeling of destruction for some odd reason… Anyway Gaslamp Killer has always been one of my favorites within the L.A. scene. This is from his most recent E.P. released on brainfeeder in ‘09. The guy is pretty good check him out
i’m kind of seeing india in my head instead of afghanistan because of that bollywood-type beat, but the song is definitely evocative of the east for sure. i love all of the layers that gaslamp killer puts on top that of that sitar (theme of the night?) part, like the psychedelic sound effects, nostalgic california organ, and perfectly blended drumming. the sample in the second half is the kind of beat that the madlibs of the world throw in at the end of a track, usually a teaser that makes you wish for the wealth of samples that great dj’s constantly surround themselves with, but we actually get to groove along with it for a good minute or so. the balance of the bass line is right on, and there’s a little bit of crackle to the recording to really give it that old school west coast vibe. something about this track makes me think of a condensed mixtape, or a trailer for a full album, probably because gaslamp killer (real name william bensussen) travels halfway across the world in one swift mix of two incredible beats…..you can go ahead and do the guerrilla warfare thing with this music blasting if you want….i think i’ll be in a tent, hidden somewhere within earshot, with some locals and a nice hookah.
thievery corporation - the passing stars (ft. pam bricker)
this track is an alternate, non-instrumental version of thievery’s gorgeous track ‘a gentle dissolve,’ which closed out their 2005 album the cosmic game. i assume the korean text above the track info already indicated that, but i figured i’d clarify. this is the final song on their upcoming best-of album, it takes a thief, and on top of some extra violin parts, it features the luxurious vocals of pam bricker, a jazz singer from washington dc easily found on most of the group’s prior work. she most notably contributed to 'lebanese blonde,' probably thievery corporation’s best-known track, which included the memorable line “too low to find my way, too high to wonder why.” for ’the passing stars,’ the beautiful lyrics, dreamy production, and appropriate placement within thievery’s greatest works are a fitting tribute to bricker, who hung herself in 2005 after years of clinical depression. this was her last recording, and was released as a single in 2006 to benefit a charity for children affected by the nuclear explosion in chernobyl.
this track is really something else. it’s an engaging mix of the german techno and its monotone vocals, instrumental hip-hop, imogen heap-esque vocoder pop, and a stone-cold jam from the ‘80’s. the beat sounds like a momentarily overwhelming entrance into a gigantic european club; floods of synth leads, heavy syncopated quarter notes, bursts of musical laser beams, and tim exile’s persuasive lyrics (strangely reminiscent of shel silverstein) gradually being transformed into a robotic army really give this tune an air of unfamiliarity and intriguing coldness as it develops. it’s almost like his intentions change as the song goes on, because his breathy singing early on winds up taking on more of a “come and join my minions” kind of tone. he doesn’t really use vibrato in any of his songs, so mostly all of his singing evokes machines of some sort. there are some really fantastic bass lines (3:11 in the recording; amazing) and he does a great job of building the song from the first note to the last, allowing for no drop-off of interest…..a colossal < from start to finish.
tim exile is a british dj, widely recognized for manipulating his music live and creating a unique human/electronic balance in his sets. as evidenced in ‘listening tree,’ he’s a master of incorporating his voice, through lyrics and beatboxing loops, into beats as he creates them from scratch. his kit of electronics is drastically more complex than a laptop or a turntable, looking more like an electro-acoustics lab than a girl talk “click me and i’ll play those two songs you like at the same time!” kind of set-up. he’s sort of like a fusion between the technological knowledge and psychedelic ingenuity of dan deacon with the accessibility of a dubstep or house dj, with some vintage chillwaviness (take that, pitchfork) thrown in for additional listenability (take that, budweiser). as progressive electronic music continues to gain popularity in the u.s. in particular, look for tim exile's name and unique persona to be in the mix, within the vanguard of expanding people's understanding of what is and isn't sonically possible. no one knows what the future of music will sound like but i'm sure this kind of stuff will eventually have its day.
not so sure about robot koch (is koch pronounced “cock?”), but alex b (of pnuma trio) pretty much made this track into a blissfully destructive army of synths and electronic loops. when the heavily layered chords come in halfway through, and the tempo starts increasing, it crosses over into flying lotus ‘parisian goldfish’ territory, the kind of stuff pitchfork would label as a “banger” (in an envisioned british accent for credibility’s sake). it’s definitely a spacey, post-dilla beat that wouldn’t have made sense in (instrumental) hip hop even five years ago, with nothing resembling an actual snare drum or non-digitized bass lines, but is also a showcase for how 2010-era hip-hop beats are fused with trance/techno/drum & bass/house/electronic dance music as a whole to appeal to a larger audience. think of the accelerando in the middle as a tutorial, displaying how these previously non-synonymous genres have come together and accentuate the best parts of both worlds.