i think i’m going to try and learn how to make baba ganoush soon.
edit, for those leaving comments on this — i know that the combination of eggplant and tehina didn’t originate in the land of israel. i think it’s fair for an american to go to israel and call the regional staple food that he eats there, whether it’s hummus or halvah or whatever it may be, ‘israeli food.’ i wouldn’t hold it against a qatari visitor to america if they called hamburgers ‘american food,’ despite the german origins. next time you guys nonchalantly call some turkic, persian, greek, mahgreb, etc. cuisine your own, i hope you think of this post.
was in nyc for two days afterwards, and i got back to austin two nights ago. lots to sort though, so the idea of summarizing it feels strange. i can definitely say that it was an intellectually enriching experience to say the least, full of depth, and containing a perfect balance of blissful fun and seriousness of a profound nature. i learned a lot about the country and myself, and made connections with people that may very well last a lifetime. the countryside is beautiful and dynamic, although they have many problems to sort though, many of which currently seem like they’re being approached from the wrong angles. since returning to the states (which i tried at the very end to avoid, unfortunately in vain…..fucking procrastination), i’ve been extremely inspired creatively, and i hope that invigorated passion persists on. extremely motivated to keep traveling, at this point. a visit to LA sometime is in my future, for sure. usually i’m pretty irresponsible with posting pictures to facebook, but i actually made it happen this time, so i’ll probably throw a few of those on here eventually.
lots of music to share, i just haven’t known where to start. now that this post is out of the way, i can get back onto my normal posting schedule, hopefully.
i’m over in israel until the 26th, and then spending some time in nyc (third summer in a row) until the 28th. set up a few things to post in the queue….not quite as much as i did during my wakarusa/bonnaroo trip, but i’ll try and make up for it once i’m back. a bunch of people have felt the need to tell me that i’ll ‘never be the same’ after this. never know what to say to something like that, you know? if anything happens to me, be it my fault or not, i hope you guys and my friends IRL can compile a sweet and appropriate bunch of tracks to play at my funeral. it’s all about the love of music, folksss. you know? tell the world about the wonders of jaga jazzist’s music — do that regardless of what happens to me, really. i hope i wrote some profound shit and left it somewhere that people can find it somewhat easily. i’ve always found it interesting that my tumblr is such an accurate representation of my passions, and yet most (or at least a lot) of my friends probably don’t even know that i maintain this blog.
i do plan on returning to tumblr/america by the end of this month though. just btw.
the fuck was all that morbid shit??? i need to drink more of this coffee, and print out my boarding pass and all that. me and my melodica need to get the hell out of here.
I don’t run this blog much anymore but I make my own music now that I’m focused on. You are alright to follow me @breonlovesyou.tumblr.com
I go by the name illusive.
appropriate that someone who’d been running the fuck yeah j dilla blog would be producing beats like this in his free time. good stuff — the opening flute trill on top of the mellow 70’s groove had me sold. check out more tunes over on his bandcamp and soundcloud.
“I was not raised in a religious household. For my mother, organized religion too often dressed up closed-mindedness in the garb of piety, cruelty and oppression in the cloak of righteousness. However, in her mind, a working knowledge of the world’s great religions was a necessary part of any well-rounded education. In our household the Bible, the Koran, and the Bhagavad Gita sat on the shelf alongside books of Greek and Norse and African mythology.
On Easter or Christmas Day my mother might drag me to church, just as she dragged me to the Buddhist temple, the Chinese New Year celebration, the Shinto shrine, and ancient Hawaiian burial sites.In sum, my mother viewed religion through the eyes of the anthropologist; it was a phenomenon to be treated with a suitable respect, but with a suitable detachment as well.”—
religion should more regularly be viewed through the lens of the anthropologist, because it’s an archaic concept that has largely eclipsed its functionality. obviously very fascinating and relevant culturally, but so easily transcended by omni-consciousness and morality shaped by sustainability and compassion.
The door of Henry’s lunchroom opened and two men came in. They sat down at the counter.
“What’s yours?” George asked them.
“I don’t know,” one of the men said. “What do you want to eat, Al?”
“I don’t know,” said Al. “I don’t know what I want to eat.”
Outside it was getting dark. The streetlight came on outside the window. The two men at the counter read the menu. From the other end of the counter Nick Adams watched them. He had been talking to George when they came in.
“I’ll have a roast pork tenderloin with apple sauce and mashed potatoes,” the first man said.
The five-piece electronic-folk amalgamation, Hundred Waters, approach everyday listeners from another dominion entirely, a province of rustic affinity and fantastical posits on nature. Where most folk music lives and breathes in its own pastoral prison, Hundred Waters’ self-titled debut LP brings synthesizers, pianos, a gad of horns and Afro-pop bursts to their album for an eclectic and near futuristic angle toward the traditional genre. Romantic, poetic and delicately balanced, Hundred Watersis a beautiful look at some of the natural wonders of life, always led by frontwoman Nicole Miglis’ child-like voice. It’s innocent and fragile, nearing breaking points on almost every track.
Hundred Waters carry with them a surprisingly formal format. The opening song, “Sonnet,” is—literally—a sonnet. The lyrics are word-for-word “Lift Not the Painted Veil Which Those Who Live,” by Percy Shelley, one of the most recognizable poets of the Romantic era. Considering that the lyrics on that song are nothing but borrowed words, it could seem like “Sonnet” is a rather lazy opener; but it’s an elegant and appropriate introduction, like an epigraph at the beginning of a novel. As Miglis repeats Shelley’s famous words, “Through the unheeding many he did move / A splendour among shadows, a bright blot / Upon this gloomy scene, a Spirit that strove / For truth, and like the Preacher, found it not,” I’m simultaneously moved by the passion and struck by the stark reality of a world where most are afraid to lift the veil and seek out “Love” and “Truth.”
a project warranting further exploration from us all, myself included. i wrote about gainesville quintet hundred waters back a few months ago, including the sublimely haunting song posted above, ‘caverns,' but regrettably lost track of them after that. i definitely recommend following this hyperlink over to the dropp for an excellent review of the album and a recording of the fantastic shoegaze tune ‘boreal.’
i couldn’t help but expect that intro to lead into ‘leaf house' by animal collective, sorry. this is a sweet track though, i've appreciated com truise's beats more and more over this past year, especially after seeing him play in east austin on the 20th of april this year. so funky, entrancingly layered, and deliciously warped by time. liking that cover art a lot as well.
Woke up this mornin with this beat runnin through my head. There’s not a better way to start the day than having Dilla beats flowin through your brain
j dilla - dreamy
certainly true….although a teebs song came on as my alarm clock this morning and i specifically remember dancing to its hypnagogic goodness towards the end of my dream. i was only shaken from that pleasant but ultimately unproductive state when an upbeat thundercat tune came on. ‘dreamy' is a beat off vol. 2 - vintage, from the jay dee instrumental series released in the early 2000’s.
just listened to a teebs and dr. who dat? (jneiro jarel is the answer to that alias’s hypothetical question, btw) playlist during my quick bike ride nto downtown this morning. when i’ve just recently gotten back home and my favorite teebs song is floating around the tumblrsphere, there’s no way its not getting reblogged.
read more about nikolay kostylev and his musical endeavors here and here, and while you do that and listen to this free track, trust me when i say that while jazzy piano loops, distant vocal snippets, and even enthralling bass lines may be relatively easy to come across, beats that include dreamy samples of chinese zhengs aren’t. the patches of ambient noise around the 2 minute mark are just like those in the trippy ‘vomitspit' remix (mf doom) by tritoneforce that i posted earlier tonight.
original beats via the tumblr of tritoneforce. if i ever get to ride on a submarine, i would like this track to somehow be available. it’s some 5:15am basement post-dubstep, combining a slo-mo sub-bass lullaby with psychedelic patches of grey noise and a distorted version of mf doom’s verses from ‘vomitspit.’ solemn electronic piano melodies close out the track, leaving behind a lasting sensation of mysterious yet noble power.
it would fit perfectly within this guest mix made for the russian progressive bass label sub-line, by oceania, aka nikolay kostylev, a producer from tashkent, uzbekistan who now lives in zelenograd, moscow, aka russia’s equivalent to california’s silicon valley. his soundcloud describes his music as simply ‘not dubstep’ — you can get that free sub-line mix of his by right-clicking here and downloading it. his style is sort of an opiated tipper, definitely ambient but also sneakily forceful. i re-blogged it a year ago and wrote a synesthetically graphic synopsis, and have rarely heard tracks since then that evoke its alluringly dark vibes so strongly.
walked into another room right after posting thisshaolin afronauts track and my accompanying thoughts about protest music, and opened up my leroi jones/amiri baraka anthology, which features poems, short stories, and non-fiction (largely jazz criticism). the first paragraph i read pertained to my post with uncommon accuracy.
if you play james brown (say, ‘money won’t change you … but time will take you out’) in a bank, the total environment is changed. not only the sardonic comment of the lyrics, but the total emotional placement of the rhythm, instrumentation and sound. an energy is released in the bank, a summoning of images that take the bank, and everybody in it, on a trip. that is, they visit another place.
music is, has been, and always will be, a focal point in society — a barometer, a catalyst, a pillar, a repose, a source of unification that puts everything in place, however coarse the process of adjustment and realignment may be.