THE BLAST

I ♥ Tuesdays When I closed off my column last Thursday, I...

Fri, 01 Jun 2012 12:45:10 -0400

I ♥ Tuesdays

When I closed off my column last Thursday, I mentioned that there was some big news on the horizon regarding upcoming Blast events. As you should be able to tell from the post below this one, I wasn’t playing. The Blast are proud to bring you the legendary DJ Shortkut, coming to Taipei for back-to-back nights of mayhem and mashing out. Following in the tradition of the Icey Ice and Agile sets earlier this year, both Friday and Saturday will likely bring capacity crowds out to Maquee for what are certain to be a couple more “Jam of the Year” contenders. Shit; almost four weeks out and I’m already amp’d for this one.

In anticipation of Shortkut’s impending visit, I’ve been doing my best to get reacquainted with some classic Left Coast material (between spins of Control System, that is). Having been situated on North America’s upper-eastside and still relatively young during the heyday of West Coast hip-hop, I’d be lying if I said I was well-versed on the Hieroglypics crew or California’s underground movements in general. Sure, I’ve long been a fan of joints like “‘93 ‘till Infinity” and “Cab Fare.” And I’ve done my share of catching up in the years since. But I remain relatively uneducated on what was happening in LA and the Bay Area under the MuchMusic/MTV radar.

In conversations with a couple of The Blast representatives who have in West coast roots, I’ve been specifically put onto founding Hiero member Casual. Though I’ve long been aware of Cas’ presence in the game, I wasn’t quite aware of how well-respected he remains among traditionalists, and have since delved into his extensive catalog. Unsurprisingly, I’ve grown a certain fondness for classic tracks like “I Didn’t Mean To,” “That’s How It Is,” and particularly “Later On.” But having skipped out on some of the more recent material, I was a little skeptical when I recently heard that he was dropping a new LP, He Still Think He Raw, in May.

After a few cycles, I think it’s safe to say I was wrong to doubt either Casual or the tastes of The Blast DJs. Sure, He Still Think He Raw suffers occasionally from the issue that most-often befalls older Gods looking to make an impact in the current landscape: poor beat selection in overt attempts to produce a modern, marketable single. But honestly, can any artist be faulted for trying to get his or her own piece of the pie? By and large, Casual sticks to the script on his new effort, effortlessly dropping knowledge on the day-to-day issues affecting the majority of the population with at least one foot on the pavement. Whether it be fond reminiscence of the influence his mother had on his career, or words of inspiration to appreciate in times of trouble, Cas brings the wisdom of a seasoned sage without any of the condescension one might expect.

What sets this record apart from most generated by thirtysomething rappers - particularly those who never achieved significant mainstream success - is that Casual has made subtle alterations to his style that have helped him steer clear of repetitiveness. The opening cut, “Rock My Shit,” is braggadocious enough to make 2Chainz envious and features ambitious production from DJ Fresh (who, along with his The Whole Shebang crew, handles the whole project.) On “Casualties,” Cas even employs the stop-short flow popularized by ~~stains~~ ~~emcees~~ rappers like Big Sean and Nikki Minaj: “I serenade ‘em. I’m cold beef; marinate ‘em. ‘Cause he leaving with dead guns; Sarah Palin.” It doesn’t always work, but Cas’ efforts to incorporate new elements into his proven formula are commendable. Perhaps more impressive is that he does so while dropping through-provoking lyrics and generally-positive messages of self-improvement (youngbloods take note).

Admittedly, I have often used this medium to chastise traditionalist heads for turning a blind-eye to new material in efforts to protect “real hip-hop.” I’m also willing to admit that, from time-to-time, I allow the reverse to happen, dismissing material from legendary figures under the assumption that I’ve heard it all before. Sometimes my pessimism is justified. But other times, as Casual proves with He Still Think He Raw, grizzled industry veterans find an appropriate mix of time-tested and novel to remain more than relevant. I’ve often said that there remains enough room in the genre for all of it; the new and the old, the jiggy and the “conscious.” Now I just need to find a way to convince my ~~record shelf~~ hard drive that it’s true.

Next week looks to be huge, with new records expected from Big K.R.I.T., Curren$y, Cam’ron & Vado, and Oh No. As we move into the summer, Tuesdays looks to be getting a little bit brighter. Until the next one, it’s The Blast ya’ll.

— Noakes

Artist: BlockheadAlbum: Interludes After MidnightLabel: Ninja...

Wed, 30 May 2012 09:51:45 -0400

Artist: Blockhead
Album: Interludes After Midnight
Label: Ninja Tune
Release date: 2012/4/30
台灣代理商：最愛音樂

Buy this CD here

來自紐約曼哈頓的英國知名獨立廠牌Ninja Tune旗下重要藝人Blockhead是難得可以被稱作hip hop composer的製作人，他最早是替El-P廠牌Definitive Jux旗下的Aesop Rock製作而打開知名度，2004年發行了首張專輯Music by Cavelight，接著在隔年又推出了Downtown Science，從這兩張專輯就可以發現Blockhead的超強製作功力，2009年的The Music Scene更是發揮的淋漓盡致，也獲得了極高的評價。本名Tony Simon的Blockhead取樣功力堪稱一絕，尤其他擅長vocal的取樣，打造出他特有的音樂風格與品味，有如電影配樂一般，是有畫面的音樂，隔了3年，我們終於又等到他的新專輯Interludes After Midnight。

Interludes After Midnight是一張概念專輯，靈感在於80末90初期的紐約電視台的深夜節目，從專輯封面就可以窺探一二，在那個還沒有手機、網路的年代，深夜節目絕對是陪伴夜貓族的良伴，也是許多人共同的回憶，Blockhead以這一張專輯打造出一段令人緬懷的年輕回憶，也算是對他的故鄉獻上最深的敬意，其實他2005年的專輯Downtown Science就是獻給紐約了。Interludes After Midnight是他最”個人”的一張作品，因為每一個取樣都充滿了回憶，Blockhead個人的情感再加上他的超強製作與取樣功力，可想而知這張專輯絕對超越以往。

開頭曲”Never Forget Your Token”地鐵的環境音貫穿整曲，是首向紐約地鐵致敬的曲目，這首歌有著Blockhead特有的風格，在不同的接點將歌曲中的元素巧妙的加入或是移除，可謂變化多端，段落也相當分明，這首歌vocal的部分取樣了60年代迷幻團Loose Enz的作品，不斷告訴聽眾”buy yourself an underground ticket / take the subway to the end of your mind”，搭配著比平常快一點點的節奏與充滿funk味的bass，讓這首歌有種不斷向前行的感覺，中段電吉他的加入，更讓音樂增色不少，整首歌像在搭地鐵一般，從開頭的上車到曲末的下站一氣呵成，接著進入了下一曲。第二首”Creeps Crouchin”的感覺就好像回到家之後就是要趕快癱在沙發上看電視一樣，節奏慵懶了許多，搭配深層的bass，還真有深夜的感覺，還蠻chill的，這首歌也取樣了vocal的部分，但跟前一首比起來，比較像樂器的一部份，並沒有那麼突出。Chill的節奏延續到了下一首”Panic in Funkytown”，這首歌名會讓人聯想到Lipps Inc的1980年名曲”Funkytown”，但出乎意料的，他選擇較陰暗的小調旋律與切分音詮釋這首歌，歌曲中含糊不清的vocal取樣是來自King Sun的作品，唱著”there`s always room for one more on the floor”，內容表達的是Lower East Side的真實黑暗面，跟想像的差很多…。

接下來的”Hungover Like Whoa”開頭取樣類似珍芳達主持的晨間健身節目，經過Blockhead改造之後，聽起來還真不太舒服，但是進入歌曲後，才發現原來這是首節奏緩慢的作品，頗有abstract hip hop的氣氛，尤其類似尺八的音色，讓歌曲更添神秘感，在相同的節奏襯底之下，在細節上做變化，像是吉他與vocal取樣等橋段，讓這首歌豐富到不行。”Meet You At Tower Records”，這歌名聽起來還真的是有青春的回憶，歌曲的感覺也較為明亮與溫暖，這首歌取樣了南岸underground饒舌歌手Young Bleed與德國前衛搖滾樂團Nektar的作品，前面的vocal主導之下，還真不像是Blockhead的作品，歌曲進行到約一半時，加入了甜美的吉他取樣，附帶一提，吉他也是他相當喜歡的素材。在結束了年輕時與女孩相約Tower Records，然後在市區閒逛的回憶之後，接著的”Escape The Meadow”也是大大展現Blockhead功力的作品，也是在相同的襯底音樂之下玩變化，在歌曲進行到約2/3的時候，適時的加入了不是特別清楚的vocal，這風格在這張專輯中隨處可見。類似的感覺與風格延續到下一曲”Smoke Signals”，也是有出現一下vocal。”Tools of Industry”鼓的進行較有groovin`，有點disco的感覺，bass也比較偏合成器，是專輯中感覺比較不一樣的作品，但是到了後半段，又是另一個橋段的出現，有著與前面不同的感覺，鼓加入了切分音，bass也比較滿，曲末類似機器人的講話聲，讓這首歌更增添disco的風味。

在優美的鋼琴聲中，我們進入了”Midnight Blue”，緩慢進行的感覺還蠻陰沉的，又出現了有點像背景的vocal聲，但是到了後半段，取而代之的是有點reggae的bass，也產生了不一樣的groovin`。接在後面的”Snapping Point”就比較輕快一點，中間的人聲取樣，彷彿一搭一唱，相當有趣，最後面也出現了電吉他，讓歌曲在結束前又掀起高潮。倒數第二首歌”Beyond Reach”找來本名Ehtan Marunas的曼哈頓同鄉Baby Dayliner填詞與演唱，共同分享回憶，講述的是在大城市中兩個從小就認識的朋友，鋼琴的取樣很畫龍點睛，最後面的女vocal哼唱，還真的有種”鄉愁”感，這首與其他歌的作法相當不一樣，也可以看出他絕不侷限在一個框框裡。進行到了專輯的最後一首”The Robin Byrd Era”，Robin Byrd是一位縱橫紐約有線電視30年的A片女星，她從1977年開始主持The Robin Byrd Show，原來這也是一種鄉愁呀，吉他由Brooklyn的hard rock樂團The Giraffes吉他手Damien Paris所彈，不過這並不是兩人的首次合作，早在Blockhead的首張專輯Music By Cavelight中Damien Paris就演奏過小提琴，另外他們也聯手製作了hip hop搞笑團隊Party Fun Action Commitee的首張專輯Let`s Get Serious，相信合作起來根本就是得心應手。如果前面11首歌代表的是夜晚，那這首的感覺就是天亮了在沙發上醒過來，又是美好的一天，一段從深夜到白天的旅程就此劃下句點。

Blockhead的作品一直是品質保證，也難怪推出新專輯會這麼受到矚目，在他的巧思之下，每一首歌內容都相當豐富，不虧是hip hop composer，令人意外的是，他這一張的音色沒有像上一張The Music Scene那般精緻，但這並不影響他作品的質量，我想他只是想要來點變化。這一張講的是Blockhead的回憶與鄉愁，讓每首歌更有故事性與畫面，大量的vocal取樣，也讓專輯更有”人”的感覺，不管是歌曲的結構或是方向都更加精進，都讓這張Interludes After Midnight成為他最棒的一張作品。

Listen

01 “Never Forget Your Token”
02 “Creeps Crouchin`”
03 “Panic In Funkytown”
04 “Hungover Like Whoa”
05 “Meet You At Tower Records”
06 “Escape The Meadow”
07 “Smoke Signals”
08 “Tools Of Industry”
09 “Midnight Blue”
10 “Snapping Point”
11 “Beyond Reach”
12 “The Robin Byrd Era”

Written by DJ @llenblow

Blast Mondays. After an incredible few months of events, THE...

Mon, 28 May 2012 07:14:00 -0400

Blast Mondays.

After an incredible few months of events, THE BLAST x MARQUEE, alongside M-STYLE and NIKE are back to present a special DOUBLE-HEADER with one of the world’s best, the Bay Area’s own DJ SHORTKUT (USA).

Event Date: June 15th + 16th
Event time: 9:30 p.m. – 3:00 a.m.
Entrance fee: NT$1000 per person (+2 drinks), Free entrance for ladies
Dress code: Smart Casual (shorts and sandals are not ALLOWED)
For reservations please call: (02) 2729-5409

A member of three of the most innovative and influential DJ crews to ever exist (the Invisibl Skratch Piklz, Beat Junkies and Triple Threat DJs), Shortkut’s contributions to the DJ world have greatly assisted in building this culture into the multi-million dollar industry it is today. As a tastemaker, Shortkut has been a consultant for both VESTAX and BEATS BY DRE headphones, as well as enjoying sponsorships from LRG, RANE, SHURE, MONSTER CABLES and many more. With over 20 years of accolades and experience (’94 and ’98 West Coast DMC Champion, Grand Wizard Theodore Lifetime Achievement recipient, Zulu Nation DJ Champion) and an unparalleled presence in both national and international circuits, Shortkut has rightfully earned his title as one of the world’s finest.

I ♥ Tuesdays Thursdays After some hard-disk drama last week,...

Thu, 24 May 2012 07:33:00 -0400

I ♥ ~~Tuesdays~~ Thursdays

After some hard-disk drama last week, Your Humble Narrator is back with a look at what’s been keeping the deck hot over the past couple weeks. And really, there is only one project to talk about. The latest release from industry tastemakers Top Dawg Entertainment has seized sole dominance over my rotation. While Ab-Soul hasn’t quite managed to capture the widespread imagination of critics and fans like labelmate Kendrick Lamar, that may change once his latest record, Control System, gains some steam. In typical TDE fashion, Control System is rammed full of progressive production from a cast of unsung beatmakers. Taebeast, Dave Free, Sounwave, and Willie B, known collectively as Digi+Phonics, handle the bulk of the project and do so with stunning originality. Cuts such as “Bohemian Grove,” “Pineal Gland,” and “Showin’ Love” standout for impeccable sample flipping, while “Track Two” and “Double Standards” display Digi+Phonics’ ability to create stark original compositions. The rest of the production team is not to be outdone, though; King Blue chimes in with an ideal smokers’ soundtrack on “Mixed Emotions,” Skhye Hutch provides the bounce for “Empathy,” and Curtiss King comes correct with “A Rebellion,” a deeply introspective joint that features vocals from fallen TDE representative (and rumored Ab-Soul girlfriend) Alori Joh. While the cutting-edge soundscapes aren’t your uncle’s boom-bap classics, enough of the traditional hip-hop essence remains to satisfy even the staunchest old head.

It could be argued that, despite obvious idiosyncrasies and an easily-identifiable sound, Ab-Soul has been the most overlooked member of TDE’s Black Hippy collective (alongside Kendrick, ScHoolboy Q, and Jay Rock.) Perhaps it’s the ever-present wayfarer frames, perhaps his admitted status as the crew’s lone suburban member. But most likely, it’s an unwavering refusal to meld his innovative to fit popular sensibilities that has been holding him back. On Control System, though, Soulo plays second fiddle to know one, standing his ground (if not stealing the show) alongside some of hip-hop’s brightest young stars. His versatility is commendable: sometimes Ab is a rebellious emcee keen to fuck up the system through unbridled aggression (see: album standout “Terrorist Threats” with Danny Brown), while on other occasions he croons calculated, thought-provoking sermons on the everyday struggle, as he does on joints like “A Rebellion.” Yes, the emcee who raps “if all the gangs in the unify, we’d stand a chance against the military tonight” is the same dude who sweetly serenades a perspective shorty on “Empathy.” Some may call Soulo conflicted, but never do the messages come off as disingenuous. On the contrary, the wide array of topics covered on the album only help to paint the Carson, California native in a very human light.

On “Illuminate,” Ab-Soul raps “I used to wanna rap like Jay-Z, now I feel like I’m running laps around Jay-Z. Nas ain’t seen nothing this nasty. B.I.G. and ‘Pac got it coming when I pass, too.” Brazen words for a relative newcomer, no doubt. But in an era with way too much lazy emceeing and sloppy production, it’s toes-in-the-ocean refreshing to hear a youngblood with his eyes on the throne, clearly anxious to show and prove through quality material. On his latest, The Black Lip Bastard continues TDE’s DiMaggio-like hit streak, in the process dismissing any notion that he is suited to play the low man on the Top Dawg totem pole. In short, Control System represents a prime example of what separates a record from the crowd in 2012’s over-saturated market: a relentless, always-ambitious display of potent lyricism accompanied by trendsetting production from a team of still-hungry beatmakers. Add Control System to the shortlist of Album of the Year contenders, and get ready for TDE to continue their hostile takeover of the hip-hop game. It might be a stretch when Soulo calls the crew the “new NWA,” but the Black Hippy squad look poised to become the next West Coast entity that leave an indelible impression not only on hip-hop, but the music industry in general.

*A free stream of Control System is available for a limited time over at XCLUSIVESZONE.net

Speaking of takeovers, the coming weekend remains relatively quiet for The Blast crew following an impressive string of successful events and parties. Make sure to catch the squad holding it down at the newly-renovated Mystique both Friday and Saturday, and stay posted for some big news on upcoming Blast events in the near future. Until then, it’s The Blast, ya’ll.

— Noakes

Artist: El-PAlbum: Cancer4CureRelease Date: 2012/5/22Label: Fat...

Wed, 23 May 2012 06:43:00 -0400

Artist: El-P
Album: Cancer4Cure
Release Date: 2012/5/22
Label: Fat Possum

Listen to This album here

來自於Brooklyn的indie hip hop代表人物之一El-P，他同時也是重要獨立廠牌Def Jux(後來改名為Definitive Jux是因為怕被Def Jam告)的主理人，從90年代的Company Flow開始，就展開了他的音樂才能。同時身兼製作與饒舌的El-P，在單飛之後發展反而更上一層樓，首先在2001年擔綱來自紐約Harlem區的雙人組合Cannibal Ox首張專輯Cold Vein的製作人，在他的加持之下，讓這張專輯成為underground的經典之一。隔年推出了這張專輯的instrumental版本名為El-P Presents Cannibal Oxtrumentals，2002年發行了他石破天驚的首張個人專輯Fantastic Damage，2007年則是I`ll Sleep When You`re Dead，這兩張都獲得各家音樂媒體接近滿分的超高評價，像AMG (All Music Guide)就給予4顆半星，他的作品都有一定的品質，我想這主要是來自他超強的製作功力。2008年5月，El-P失去了他的好友兼音樂伙伴Camu Tao，因為肺癌過世，上一張專輯事隔5年後，他終於發行了第三張專輯Cancer4Cure，立刻引起廣大迴響，非常毒舌的音樂網站Pitchfork給了8.5的高分，AMG也有4顆星的表現。從專輯名稱看來，獻給他的好朋友Camu Tao的意味很濃厚。

在先推出了兩支相當有意思的宣傳短片“Cancer For Cure”與“Drone”之後，眾人無不引領期待他睽違5年的新作Cancer4Cure，發行之後果然深受好評，我想對於El-P而言，他的作品根本就已經是品質保證，無須擔心。在聽過這張Cancer4Cure之後，整體的感覺跟上一張I`ll Sleep When You`re Dead比起來較沒那麼黑暗，但是還是一樣的重，”重”也是El-P的特色之一，音色則偏向合成器的聲響。製作人的部分當然一如往常由他全部承攬，這次還找來了Definite Jux旗下funk樂團Chin Chin的鼓手Little Shalimar合作了3首歌，另外主唱兼keyboard手Wilder Zoby也協力了1首作品。合作的對象與上一張也有所不同，I`ll Sleep When You`re Dead找了不少人打理vocal的部分，像是Mr. Lif, Aesop Rock, Cage, Tame One, Rob Sonic與Camu Tao (R.I.P)等，而且還有一些跨領域的藝人像是The Mars Volta的主唱Omar Rodriguez-Lopez, Nine Inch Nail首腦Trent Reznor, Glassjaw與Head Automatica的主唱Darryl Palumbo，甚至還有Cat Power，加上一些樂手的貢獻，激盪出不同的風貌與感覺。不過其實在那一段時間Definitive Jux推出的唱片大抵都是差不多的模式，有的還每首歌都找不同人製作，像是Cage的Hell`s Winter。

而這張，合作的人數整個銳減，除了來自紐約皇后區的Definitive Jux自家人Despot之外，還有當紅的底特律宅男饒舌歌手Danny Brown，背後有紐約街頭服飾品牌Mishka撐腰的Mr. Muthafuckin` eXquire，他的mixtape Lost In Translation也有找El-P合作，另外與El-P合作R.A.P. Music專輯的南岸政治狂熱分子Killer Mike也在名單上。跨領域的合作這次也有，他找了加拿大的indie rock團體Islands的主唱Nicholas Thorburn a.k.a. Nick Diamonds以及Interpol的主唱兼吉他手Paul Banks。El-P在製作上的功力，在2010年發行的instrumental mix專輯Weareallgoingtoburninhellmegamixxx3中就已經表露無遺，既然都已經證明他可以一夫當關了，那這張最新專輯當然就是可以讓他發揮得更肆無忌憚，所以我想這也是為什麼這次合作的對象會這麼少。無論如何，這張專輯的12首歌都是上乘之作，沒有因為合作的對象減少而有所不同，甚至更上了一層樓，更加精進。

專輯的第一首歌”Request Denied”，就給大家來一個出奇不意，在安靜了幾秒鐘之後，急速的碎拍衝出，第一首歌就把大家震撼到了，在急停之後，El-P的急速饒舌帶入，這首歌講述的是他的兒時回憶，結束之後，一切又回到正軌上。這張的歌大約都維持在130 bpm-140 bpm之間，但每首歌又很獨特。接下來是主打歌”The Full Retard”有著El-P典型作品感覺的，音色與節奏都顯得非常黑暗，前面的饒舌”So you should pump this shit, like they do in the future”是由Camu Tao所貢獻，El-P不斷的重複著”lil bitch”，中間切入了小女孩天真無邪的聲音，是歌曲的一個轉折點，接著一陣如機關槍般的小鼓直擊，彷彿大夢初醒，這首歌內容是El-P心目中的烏托邦，一個充滿不同種族、思想與信仰的孩子們的理想世界。”Works Every Time”的節奏相當重，大鼓更是驚人，配上有點南岸感覺的小鼓，尤其是那小鼓過門，光是節奏就很夠看了，以弦樂代替bass，讓這首歌有很悲壯的感覺，配上藥頭悲歌的內容，還真是悲到底了，Paul Banks所演唱的副歌在這首歌中有畫龍點睛的效果。”Drones Over Bklyn”也有著El-P過去熟悉的味道，Little Shalimar也有參與，接下來的重頭戲，是由Mr. Muthafuckin` eXquire與Danny Brown共同呈現的”Oh Hail No”，算是專輯中相當引人注目的作品，以tremolo效果的吉他帶入，在低聲呢喃之後進入節奏部分，兩位助拳人的饒舌，真是如虎添翼，其中Danny Brown的特有flow，讓他更勝一籌，他的橋段會讓人覺得這首歌與一開始的感覺不太一樣，彷彿換了一首，主題就El-P平常會講的性、酒以及食物。

“Tougher Colder Killer”找來Despot與Killer Mike合作，背後的故事相當嚴肅，講的是戰後創傷症候群，那些因為上級命令而殺人的士兵，回到故鄉之後所面對的煎熬，這類的主題找Killer Mike再適合不過了，verse的部分是給被殺的敵人媽媽的一封信，滿是歉意。”True Story”取樣了Brooklyn惡搞三人hip hop團體Das Racist成員Heems的聲音，講述著令人鼻酸的真實故事，bass的部分相當有意思，帶有80年代的synth味，與鼓搭配之下充滿了強而有力的groovin`。接著節拍又急轉直下，由bass開頭的”The Jig Is Up”是一首情歌，是Little Shalimar參與的另一首作品，El-P用比較像說話的方式表達，歌詞中還借用了知名老牌喜劇演員Groucho Marx (R.I.P.)的台詞”I wouldn’t want to be a part of any club that would have me.”來闡述1對1的情侶關係。接下來的”Sign Here”也是像說話一般，速度也跟前一首差不多，以隱喻的方式訴說性議題，El-P一直重複著”tell me what I want to hear”，讓聽者有種受騷擾的感覺。與Wilder Zoby聯手製作的”My Upstairs Neighbor”講的則是家庭暴力，”Stay Down”有著令人窒息的bass，配上帶有泛音的吉他，感覺非常的黑暗，Nick Diamonds參與的就是這首歌，由他演唱的副歌與El-P的饒舌形成強烈對比，讓這首歌更有味道，也是Little Shalimar製作的最後一首作品。

結尾曲是由”$4 Vic”與”FTL (Me and You)”所組成，前者密集的大鼓點加上類似dubstep的小鼓，真是重到不行，再加上bass是比較搖滾的彈法，可見其力道，不過在醞釀了許久才衝上頂點，高低起伏掌控的相當得心應手，Camu Tao的聲音貫穿其中，可見他對於好友的思念，後半段的迷幻吉他solo，讓這首歌更添可看性。在慢慢fade-out之後，最後一個樂章”FTL (Me and You)”慢慢響起，一開始的弦樂又讓人嗅到了悲傷的氣氛，在極少beat的支撐下，更襯托出營造的氣氛，接著慢慢淡出，結束了這張專輯。

這一張專輯的話題都相當的嚴肅，而每一首的音樂部分都配得恰到好處，與其說黑暗，不如說這張比較悲傷與憤怒，但同樣不變的是那兇悍的beats，每首歌都是如此的變化多端，製作才能真的不在話下，也足以看出El-P對於音樂的堅持與努力，他說故事的功力也讓他的作品加分不少。這次他前往LA知名的錄音室Low End Theory錄製，更借用了一些早期dubstep的元素，也難怪會有與以往相當不同的感覺，尤其是在重度方面，要敢實驗才能夠玩出新的東西，也才會更上一層樓，我想這是不變的定律。Cancer4Cure的著力點其實都在講控制人們的東西，比如說媒體，我們無須沉默，對於不公不義的事情，大家都有責任扳倒，將這些控制你我的東西掃除一空，將”我們”聯合起來共同對抗所謂的”他們”。

這絕對是今年會引起話題的一張hip hop專輯，而這張專輯還有另一層的意義，因為這是El-P在2010年宣布Definitive Jux事業暫停後的重返樂壇力作，相信這張唱片會讓大家覺得，等待是值得的。

Written by DJ @llenblow

Time Flies in Taipei: A Recap Communities are formed...

Tue, 22 May 2012 07:34:00 -0400

Time Flies in Taipei: A Recap

Communities are formed and maintained to serve the basic human needs, but the strongest thrive on love, creativity, and solidarity. The essence of these qualities was highly discernible Saturday night at AMPM Gallery, where Bay Area transplants OPTIMISTUEY opened up their much-anticipated joint venture Time Flies in Taipei. Inspired heavily by their collective six-plus years upon the thoroughfares of Taipei’s concrete jungle, the mixed-media pieces rightfully served as the focal point for those in attendance. The stories told through the work were vivid, many of which - in conversations with an eclectic collection of Taipei’s creative forces - struck a chord for onlookers with similar experiences. I was particularly taken aback by a chunky, drippy, four-piece alliteration using OPTIMISTUEY’s own form a pinyin of spell out a few of the Taiwan essentials: Pungyos, Peegoos, Peejoes, and Pai-dways; or for those unfamiliar with Mandarin: Friends, Dat Ass, Beer, and Parties. A wood slab with “Another All Nighter” painted in black script also felt especially pertinent given my status as a Taipei outsider and a veteran rider of the early morning train from Taipei back to Hsinchu (or Tainan, or Chiayi, or wherever I happen to wake up). Though Bay Area influence is pervasive in each piece, the collection undoubtedly conveys a sense of the cultural conglomeration that fuels the day-to-day escapades for a pair of Taiwan’s premier street artists and many of those with similar lifestyles.

The soundtrack for the evening was provided by the man with the dustiest fingers in Taipei, DJ Vicar, who gave the crowd an advanced listen to his upcoming release, The Birth mixtape. The tape’s soulful sounds provided an ideal soundscape, subtly setting the tone without providing distraction from the packed gallery. As cliche as it may sound, the evening had a certain film-worthy ambiance, each and every guest in attendance bringing their unique individual characteristics to the set of the grand production. The Blast crew was in full attendance, as were representatives from several of the city’s major innovative movements and a welcome abundance of superfly ladies fresh dripped in their ~~Sunday~~ Saturday best.

A little rain couldn’t put a damper on an otherwise-ideal showcase for just the type of talent that Taipei not only plays host to, but also helps to inspire. Shouts to Andy and Joe for hosting in their always-fresh space, to Garret Clarke for the impeccable photo set, and to P. Sex for all the assistance in helping to get the event on its proverbial feet. Most of all, to Stuey and Optimist for sharing the vision, hopefully opening lanes for others to express their own experiences with an incredible city. Tai-Bay indeed. The show runs through August, so if you weren’t able to make it out to the opening, you can still roll past AMPM’s Zhongxiao Dunhua location and let the work speak for itself. I’m no art critic, but I can guarantee you won’t be disappointed.

— Noakes

*Ten prints of the above photo were made available for the show, framed, signed, and numbered. At the present time, there are a few that remain for sale. Interested parties can pick one up at AMPM.

Blast Mondays. Prior to connecting with John Poon for his most...

Mon, 21 May 2012 05:45:27 -0400

Blast Mondays.

Prior to connecting with John Poon for his most recent effort Fanfare, The Blast’s resident face from the North, LEO37 connected with childhood friend Sunclef (who’s currently on tour with Dibiase out in Cali!!) to drop this jazz-tinged single featuring Toronto jazz heavyweights William Sperandei and Tim Shia.

Somethin light for your Monday evenin lull. Salute.

djserpico: The Birth by DJ Vicar… Coming soon

Mon, 21 May 2012 01:04:57 -0400

djserpico:

The Birth by DJ Vicar… Coming soon

FEATURE FRIDAYS: OPITIMISTUEY

Fri, 18 May 2012 07:58:00 -0400

As was announced earlier this week (as well as featured in the alternative community’s bible, JUXTAPOZ), this Saturday, Taipei is lucky enough to have a world class exhibit courtesy Bay Area Graffiti legends Optimist and Stuey. Featuring a collection of brand new pieces all inspired by their time in Taiwan, THE BLAST were lucky enough to sit down with the elusive pair and break down their start, their influences and the inspiration behind their brand new exhibit, ‘Time Flies in Taipei’ .

BLAST: Introduce yourselves. Who are you? What and where do you represent?

OPTIMIST: Born in San Francisco raised in Oakland. I represent the highest vibrations of love and light. I came to planet earth to create and inspire humans.

STUEY: Stuey The MD coming out of the Bay Area of Northern California. I rep Oakland, Manila, Davao, Taipei and Asia in general. I am a representative of creativity and culture. We are artists and writers who paint both indoors and outdoors around the world.

B: When did you start your creative path? How?

O: Its been an ongoing process depending on the body im in. In this body during this lifetime my father was a major influence on my creativity. He was an artist, a photographer and I wanted to be like him. I spent the majority of my childhood reading comic books and drawing. Then I met Graffiti and never looked back since.

S: The Bay area is rich in graffiti and Hip Hop culture so it was simply a part of coming up. I was introduced to graffiti when I was in the 2nd grade. Then Break Dancing and the art of the DJ became my focus. I wanted to be like my older brother and he schooled me early in the game. But I really started focusing on painting toward the end of High School. This is where I learned most about myself and that’s what pulled me in and keeps pulling me in deeper.

B: Tell us about your upcoming exhibit Time Flies in Taipei. What inspired it? Is there a specific sentiment you’re hoping to convey?

O: LIFE inspired it. Taipei inspired it. This show represents the evolution that has taken place over the past 6 years in our minds and in the city itself. Time flies in Taipei is the story of OPTIMISTUEY in Taipei and it represents so much more then just our lives and our perspectives. Everything in the show was found in Taipei on the street or in abandonded buildings. We had to make due with whatever we could find…thus turning nothing into something which is why I’m so happy about the show. Everything came together in a natural way, and fit together perfectly and yet nothing was really planned.

S: ‘Time Flies’ is a collaborative installation and our first show in Taiwan. More than an art show, it is a way of expressing the things that we can’t thru graffiti and also expressing how much graffiti has helped us come to know Taiwan in a way most people don’t. The show itself is a blend of images and text that come from the inspirations of the Taipei life as a newcomer in this rapid changing city. I want the work to hit people in the head and the heart and hopefully they can see this city in a different perspective rather than just being caught up in it. I want this show to put Taipei on the map more than before.

B: The exhibit itself is a combination of such a diverse and unique variety of pieces. What piece by the other are you particularly fond of?

S: All of the dead markers that we have saved overtime and installed might be one of the top 5 for me just cause they represent the time put in, the places I’ve been and all the feelings/insights I’ve had over the years.

Other than that, “CAN’T KEEP RUNNING AWAY” is one of my favorite things I put together. It’s rests on my old passport pages with all the stamps from all the Visa runs I have done while living in Taiwan. Visa running is a crucial part of the life out here and for any Hip Hop heads, the saying should hit you. Plus, that song played a crucial role to the soundtrack of the Only In Taiwan Saga.

O: ”WHAYING GWAHLING”.. that shit makes me laugh everytime i look at it.

B: What artist(s) do you respect the most (past/present)? Why?

S: As far as music … I am on that Big K.R.I.T. at the moment.

As for art…way too many to list. But I will just say that I’m always cheering for the UnderDogs, so anyone I list off won’t ring any bells unless you came up in the Bay or actively following the ongoing conversation called “graffiti”. But, just to keep it 100% one time, Mike Dream and Ceaver 640 are two major influences who I have actually met and spoke with. Rest In Peace Mike Dream.

O: I respect self made artists. Neither of us went to art school and so I respect people who are naturally talented and have a passion for making art and expressing themselves the only way they know how. You shouldnt be in the art game to make money. Money should be the icing on the cake. I respect all the people who came before me and put it down and didn’t get shit back. They did it for the love of Graffiti. I respect “fine” artists thats didn’t have to compromise their work for a gallery. Artists that look for meaning in life and express this through their work with constant evolution an progression. Those who avoid getting stuck on one style just because it sells.

B: What’s your current artist of choice to listen to while you work?

S: BIG FOK’S SMOKE SHIT ALL DAY. And some Kels…. ahhaha..

B: What’s the best piece of advice you could give those also doing art?

S: May your life be cooler than your art. Have a good team and crew around you. Hang out with people who don’t do art so that you can get a variety of insight/input. And this one i just came up on via the internet….

‎‘imagination should be used not to escape reality…but to create it.’ - Colin Wilson

O: Discipline. Think for yourself, act on your gut feelings, accept your mistakes and move on.

B: What are some goals and missions for Optimistuey?

S: A “TIME FLIES IN TAIPEI” mixtape to compliment the art installation. A photo zine of images from the adventures of this life. And really, to inspire more youth to be creative and proactive in this world. Also, I am the infant stages of a mission to help raise funds to build a skate park in Manila.

O: Keep doing art for charity and enjoying life… cus it’s short.

B: What cartoon character do you identify with most? What super power would you have?

O: IRONMAN…. I’d have the ability to freeze time for how ever long I wanted.

S: It’s Ghost Life ‘til I’m born again. I just wish I could teleport how they do in the movies.

Time Flies In Taipei opens tomorrow and will be showing at AMPM Gallery from 5/19-8/19. Click the flyer above for details.

Be well world.

Salute.

來自Washington D.C.的饒舌歌手Tabi Bonney推出了最新MV “Castle On A...

Wed, 16 May 2012 01:26:34 -0400

來自Washington D.C.的饒舌歌手Tabi Bonney推出了最新MV “Castle On A Cloud”，找來歌手Terri Walker共同合作，製作人是相當知名的Ski Beatz，收錄在他明天推出的免費下載專輯The Endless Summer，這張是將他之前的The Summer Years重新發行，另外多收了幾首新歌。

posted by DJ @llenblow

來自Brooklyn的Ruste Juxx與法國知名製作人Kyo Itachi合作的專輯Hardbodies Hip...

Wed, 16 May 2012 01:11:45 -0400

來自Brooklyn的Ruste Juxx與法國知名製作人Kyo Itachi合作的專輯Hardbodies Hip Hop又推出了最新MV ”Strapped Wit A Whut!”，取樣了古早的電玩音色，相當有趣。

posted by DJ @llenblow

djserpico: OPTIMISTUEY - “TIME FLIES IN TAIPEI”

Wed, 16 May 2012 01:09:38 -0400

djserpico:

OPTIMISTUEY - “TIME FLIES IN TAIPEI”

來自J Dilla故鄉底特律的Danny Brown與Pitchfork.tv共同呈現的20分鐘影片Detroit State...

Wed, 16 May 2012 01:00:57 -0400

來自J Dilla故鄉底特律的Danny Brown與Pitchfork.tv共同呈現的20分鐘影片Detroit State of Mind，帶大家深入的認識這位自稱hip hop宅男的當紅炸子雞。

posted by DJ @llenblow

MV總是煙霧彌漫的Smoke DZA即將在6/19發行最新專輯Rugby Thompson，整張都交由Harry...

Wed, 16 May 2012 00:49:48 -0400

MV總是煙霧彌漫的Smoke DZA即將在6/19發行最新專輯Rugby Thompson，整張都交由Harry Fraud製作，這是首支MV “New Jack”。

posted by DJ @llenblow

來自美國首府Washington D.C.的製作人兼饒舌歌手Oddisee新專輯People Hear What They...

Wed, 16 May 2012 00:40:44 -0400

來自美國首府Washington D.C.的製作人兼饒舌歌手Oddisee新專輯People Hear What They See即將在6/5發行digital download版本，6/12則是LP與CD實體版本，在此之前，他先推出了一張免費下載的4首歌混音EP Odd Renditions，裡面除了收錄Marvin Gaye的“Ain`t That Peculiar”之外，還有Bon Iver, Metronomy與K-OS等人的作品。

Download this EP here

Watch “Ain`t That Peculiar” here

posted by DJ @llenblow

TIME FLIES IN TAIPEI Blast Massive, It’s a rare pleasure...

Mon, 14 May 2012 08:30:22 -0400

TIME FLIES IN TAIPEI

Blast Massive,
It’s a rare pleasure that I get to invite y’all to an extremely special event. Featuring ‘Oakland’,’San Francisco’ based ‘graffiti’ artists ‘Optimist’ and ‘Stuey’,this Bay Area duo bring you an exhibit of mixed media pieces documenting their time in Taiwan. Full of color, character and commentary, this show is certainly one of the most unique and intriguing shows to come through Taipei in a very long time. If you’re visiting this side of the world anytime in the next 3 months, be sure to stop by AMPM Gallery and check it out.

For more on TIME FLIES IN TAIPEI, check the synopsis below or CLICK HERE for the Facebook invite.

See y’all on the 19th!

Salute.

::::::::::

‘Time Flies in Taipei’
Opening May 19th 2012

‘AMPM Studio’ invite well known ‘Oakland’,’San Francisco’ based ‘graffiti’ artists ‘Optimist’,and ‘Stuey’ to collaborate on an art installation exposing a glimpse of their wild lives and experiences in Taipei.

Together they’ve created a montage of mixed media pieces, documenting unique cultural aspects encountered during their adventures in Taipei. As well as an interesting comical insight into the world of two outsiders living, and working in Taipei Taiwan over the past six years.

Absorbing the highs, and lows of living in a foreign country and contributing a new artistic element and expression to the city through their street works, has left both artists with profound impressions and experiences of Taipei. From this exposure they gain they’re inspirations for this new body of works.

The major concepts, and materials collected in these creations were all discovered through foraging in abandoned areas ,construction sites, and roaming through the lonely streets of ‘Taipei’ nightly.

Incorporating these elements together within their composition, and utilizing an array of associated imagery of it’s locals and landscape, while combining some comedic dialogue between the ‘English’, and ‘Mandarin’ languages from a “foreigner’s” perspective, makes it possible for them to fully express a unique connection and representation of their love, and interest for ‘Taipei’s’ “urban experience.” At the same time continuing to create an interesting atmosphere for viewers to immerse themselves in visually ,as well as intellectually.

To continue to show they’re love and support for the people of ‘Taipei City’, the “Time Flies In Taipei” exhibit is working with a non-profit organization to help with women and children exposed to domestic violence, and abuse .

‘AMPM’, along side artists ‘Optimist’ and ‘Stuey’ wish to develop a special donation fund from works sold from the show to later go to the less fortunate people affected by these negative social circumstances.

The proceeds from the show will be donated to the ‘Foundation for Battered Women and Children’,so please come by and show some support!’

FEATURE FRIDAYS: BARRY

Fri, 11 May 2012 06:26:33 -0400

In my near 2 decades of actively participating in Hip-Hop culture, it’s inevitable that some of the taste of today’s youth seems like an entirely different world from what I know as ‘Hip Hop’. The culture of Swag has overshadowed the art of Spitters and now the ability to write a catchy hook holds exponential stock compared to it’s lowly competitor of being able to touch your audience with 16 bars of life.

This is why, in a time where the world is smaller than it’s ever been, it’s exciting to see cultures who have no pioneering roots in Hip Hop take pieces from both Swag and Skill lanes and combine them into something altogether new. Traditional Hip Hop may still ultimately lie in the hands of its forefathers, but the fact has never been lost that whether 1976 or 2012, Hip-Hop is still taking cues from it’s Freshmen class.

The Blast had a chance to sitdown with one of Taiwan’s current leaders of the new school and pick his brain about his start, his inspiration and his future.

BLAST：是否可以介紹你自己，和你所代表的特質？

BARRY : 大家好, 我是Barry, 來至How We Roll Music.

我自己覺得我代表的是, 一個沒有資源和太多的幫助, 還有身邊週遭充滿質疑的眼光或是言語, 經歷了低潮與挫折下的一個年輕人抱著堅定信念 , 還是努力的實現的自己的夢想

BLAST：你從哪裡來？跟我們說一下在你的城市的音樂環境或文化。

BARRY : 台北三峽鎮

老實說三峽沒有什麼音樂環境, 在我週遭的朋友, 他們都聽例如羅百吉或是電音比較多. 有時候我自己都覺得我自己會喜歡HipHop也蠻不可思議的…哈哈哈

我覺得三峽的文化就是樸實, 街坊鄰居人都很好大家都互相認識, 可能在南部街坊鄰居認識是很正常的事, 可是現在的台北我會覺得三峽很特別!

BLAST：什麼時候開始踏上音樂這條路？又是什麼原因讓你開使創作？

BARRY : 剛開始嘗試寫詞的時候是在國中.

國中時期的我內心比較憤怒, 總覺得自己講話好像都沒什麼人會聽, 所以就把它寫下來, 感覺心情會好一點. 所以國中寫的東西大部份都是在罵人, 哈哈哈

BLAST：為什麼是嘻哈？嘻哈對你來說是什麼？嘻哈在你當時的世代又是怎樣？

BARRY : 因為嘻哈比較簡單和直接, 不需要花太多的錢.

當時嘻哈在台灣來說, 還是街舞發展的比較蓬勃, 饒舌只是小眾. 可是現在我感覺的到, 饒舌在台灣已經有越來越多支持者, 大家的的水準, 技巧也都提升了很多, 非常棒!

BLAST：買第一張唱片的時候是幾歲？是哪張專輯？

BARRY : 14歲, Eminem - 8 Mile 電影原聲帶

BLAST：最尊敬的歌手是誰(過逝或現在的都可)？
BARRY : 2pac

BLAST：跟我們聊聊你現在最新的計劃？它跟以前有什麼不同之處？
BARRY : 新的Mixtape

這次除了新歌之外, 還會有一些之前累積, 沒有公開的作品, 有點像日記的感覺, 記錄當下我腦中的想法還有所有的感覺, 妳可以在這張Mixtape聽到一些在EP或是比較正式的作品裡面不會聽到的東西. 我覺得會很酷!

BLAST：說說你最喜歡的漫畫卡通人物。如果可以有一種超能力，你會想擁有哪一種？
BARRY : 達爾（七龍珠）

飛行能力

BLAST：請說出一首是你從來都不好意思開口跟任何人說的歌曲。

BARRY : 以前寫的一首歌 “Gangsta Set” 哈哈哈

BLAST：未來還有什麼計劃？有沒有什麼建議是想跟新一代的說？

BARRY : 未來我最想做的是一張完整的專輯

新一代的朋友們, 繼續努力, 有時候你可能會覺得很氣餒, 可是皇天不負苦心人, 只要Work Hard沒有什麼不可能, 加油!!!

Be sure to check BARRY’s official mixtape release party this Friday in Taichung featuring The Blast’s very own DJ SERPICO.

Check out BARRY’s newest single TAKE OVER.

Salute y’all.

Big K.R.I.T.推出了最新MV “I Got...

Wed, 09 May 2012 07:31:08 -0400

Big K.R.I.T.推出了最新MV “I Got This”，還蠻跳的一首歌，收錄在他即將在6/5在Def Jam發行的首張專輯Live From The Underground。

posted by DJ @llenblow

Large Professor推出了最新MV...

Wed, 09 May 2012 07:29:46 -0400

Large Professor推出了最新MV “M.A.R.S.”，找來當紅的Cormega, Action Bronson, Roc Marciano與Saigon共同合作，收錄在他即將發行的新專輯Professor @ Large。

posted by DJ @llenblow

來自Brooklyn的波多黎各與菲律賓裔美國人後裔，身兼饒舌與製作的Agallah a.k.a. Don...

Wed, 09 May 2012 07:26:54 -0400

來自Brooklyn的波多黎各與菲律賓裔美國人後裔，身兼饒舌與製作的Agallah a.k.a. Don Bishop，之前隸屬於哈林區The Diplomats那一掛的團體Purple City，除了自己的音樂之外，他也幫Busta Rhymes, Remy Ma, The Diplomats, Guru, Sean Price, Saigon, Mobb Deep與Big Pun等人製作過，不過都是在幕後，也就是所謂的ghostwritter，這是他的最新MV “Max Julien” ft. Sean Price & Ike Eyes，製作人是Sicfuc，收錄在Red Velvet專輯中，這首歌是向1973年推出的知名黑潮電影The Mack中飾演主角Goldie的演員Max Julien致敬。

posted by DJ @llenblow