Thesis, antithesis, synthesis

My terrible mashup...please indulge...

My response to the previous response of my previous post, I don't have much to write, that is time right now, to think and write other than in school and career development things that aren't related to music.

A mash-up of the bro-step power-ballad that is Nero's "Innocence" with Burial's "Fostercare".

I didn't have time to actually try to remix these.  This is a very primitive youtube program at youtubedoubler.com.  Though the different periods at which each piece repeats make the combo interesting when you let it run over 10 mins.

Here are the youtube's for reference if you have a better outlet...please share (note the disparity in hits). Also increase the burial track's volume twofold to what you set nero's track volume to:





That is all...

Boxing in Dubstep

ScratchaDVA - A legit Dub-step sound

So in the late 2000s, a style birthed from the UK scenes of grime, garage and jungle came about that took many indie kidsters by storm.  It is called dub-step, and is hailed as the new sound of electronic music...that is pushing the edge much like IDM did in the 90s.  Well, while I may not believe it and what many people are calling dubstep these days just sounds like tired-ass jungle, so I'm going to gripe a bit...

First, there was really no dubstep until 2004, when the Hypderdub label first came out.  There may have been a sound before then, mixed in the aforementioned genres that embodied this dark, paranoid and intense urban music that tries to get at the deeper meaning of being a city-dweller and dodging all of the dodginess there is in the UK urban cores, especially in the estates.  I think most folk that listen to dub-step can't really appreciate poverty, government housing and the per diem living conditions these musicians draw from as inspiration.  It's a really unique voice and I find imitators are easily spotted.  In fact, I'm sure that some may feel betrayed that Burial is a music school alumnus of the Elliot School in London, noted for such bourgeois acts like the XX and Hott Chip...well they're at least not producing music that's a product of poverty.

And I suppose it's a matter of sincerity.  Can people without the experience make sincere music?  I don't know if Bevan admits to anything, as his anonymity is outed, but he's still very private.  But damn is his stuff dark, and well crafted despite it's organic, dynamic, noisiness.

Anyway, the crux here about Dub-step, is that it should be a genuine sound.  When I come across DnB, passed off as jungle like the stuff I hear from Mt. Eden Dubstep...I get kinda pissy.  It's not dark, it's not urban, and it's got no edge.  It's just raver-candy.

Video of Mt. Eden's Remix of Bat For Lashes Daniel

Now compare that with Boxcutters "Brood".

I just don't think there's much comparison...using a "2-step" beat and some bass wobble doesn't make you dubstep.  Bassnectar, Mt. Eden, Dee Jay Mee, Pendulum, Datsik and yes...even Caspa, calling you out that your stuff ain't dub-step (same goes for my crush, Joy Orbison)!  Now don't me wrong, I actually like some of these folk, but riding hype, ain't the way to make it.  Like if I called some whacked out and distorted fruity loops ditty I just made Witch House...

Would just be dumb...and and probably worse...disingenuous.  Burial, you're legit!  Happy listening!

Not Mystery Tapes...Not Woods...

Can't stop listening to this Kevin Bacon free piece of polymerized plastic I picked up recently.

In a world where everyone's making chill and psyche music, it's nice to see one with a beautiful, deep and rich musical narrative.

I present to you, a track from "Mystery Tape EP" by the Woodsmen.

It's like I'm an eagle soaring over the rockies, getting giddy over rising thermals and watching lovers have sex by glacier lakes at sunset.

It's a beautiful thing...

Embrace the Sufjan Machine!

Sufjan's lovely little site is letting us see him communicate with a machine mouth, with a theme more ethereal than a Christmas postcard of Good King Wenceslas.

Art by Royal Robertson, who inspired the album...

Age of Adz is going to be a great 2010 release.  The new decade seems to be a new age of sexuality, love and hope despite the apocalyptic themes.  Seems the apocalypse comes from those who would eradicate the heathens, fornicators, the sodomites...at least from their hateful and fearful mouths.

I welcome the new decade with an open mind...can you?

Like forgetting about Sufjan's 50-state project.

Ritmo Mundial Afrocaribe

I've been obsessing all day yesterday over the complete high quality stream of El Guincho's new album on Drowned in Sound.  Must have played it for at least a couple hours.

Granted there are a few out there who don't like the authenticity to Guincho tracks.  Spain has produced what I've been searching for...which may come under attack as not being latino music.  But what is latino music, other than a localized dialect of the african rhythms brought over to the western hemisphere through slave-trade?

Ejemplo: Prende La Vela (de Colombia)

So what, if it's produced in Spain?!

What I really like about Guincho's work is that it transcends the staid (IMHO) confines of latino big-band dance music (salsa, merengue, cumbia, bachata) and latin pop (Enrique Iglesias, Carlos Vives, Shakira etc...).  It's rooty music, but it's not trying to be a journey of academic ethno-musicology or a cheesy house remix that punches some latino rhytm loops.

Album cover for "Pop Negro"

El Guincho's solid as hell follow up to the amazing 2007, "Alegranza!" breakout, goes deeper into the carribean, and touches the shores of central and latin america.  From this you hear clear echoes of West Africa and Mali.  And of course, it seamlessly blends the rhythm and melodic elements from these roots with a modern take on loopy music production.   His voice is also clear.  It's not a cry, or a whisper, but a  steady character, like a good, reliable friend.  He doesn't slather in schmalz, or sleez it up in sex-talk, but expresses the alegria de ser vivo!

Though it does suffer superficial comparisons to Animal Collective and Os Mutantes (which I don't get at all...i think it's just cause it's latino sounding and has some psych-synthpad elements) on the blogosphere, it's not freak-out meets tropicalia.  This is El Guincho!  And he's come with open arms with this new release for all people of all kinds to enjoy...and dance to!

El Guincho's "Bombay" from "Pop Negro"

Granted, I do have a dearth of spanish-language music (I think I have more brazillian tropicalia in my collection than I have tracks of latino performers).  I am happy to snap up all I can from this guy.  His "Pirata de Sudamerica, vol. 1" EP is also great, as it showcases "traditional" songs from latin america.  It's a bit more laid back, but amazing to have it followed up so quickly by "Pop Negro".  I'm excited for more artists to come forward, and embrace new technology and  sound-generation, melding them with traditional latino cultural music.  I feel more comfortable with this music, than dealing with the full-frontal assault of some salsa,  like that of Celia Cruz.

El Guincho's "Frutas de Caney" from "Piratas de Sudamerica, vol. 1"

But to be frank...I must admit this entry is a bit personal.  I confess, that I've always felt a little "on-the-outside" when it came to my own latino roots.  El Guincho's work gives me inspiration; as well as a relaxed, unpretentious setting with which to enjoy the music, and not get caught up in my own self-image and identity issues.  I've always felt really self-conscious and judged when trying to dance to salsa, merengue or cumbia with others.  El Guincho just seems to tell me "Escucha la musica!" and forget how people will judge me.

Don't get me wrong, I love latino music (in spite of my staid comment).  Especially the Andean folk:

Juan Manuel "Vasija de Barro"