Majestic Casuals - Experience violence in a casual way.
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Stand free, wherever you may be,
'Cause we are the famous Aberdeen,
And we don’t give a fuck, whoever you may be,
'Cause we are the famous Aberdeen.
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Majestic Casuals - Experience violence in a casual way.
That final knockout blow delivered by Lockah’s new ‘Only Built For Neon Nites’ EP - and done in such eloquent fashion too. An arpeggiated anthem (clearly befitting of its cheeky genre tag ‘Thug Pop’) which uses only a handful of instruments to give it the bold sound of those retro, synth-laden epics. In contrast to the electric piano chords that keep the mellow aura intact, the lead riff descends down an almost sinister scale, an intimidating display of t-shirt muscle and Miami Vice mullets perhaps best identified as the ‘thug’ element. The rest of the EP features further greased-up 80’s cop show vibes, especially in the intro (a.k.a ‘Theme to Only Built For Neon Nites’) and penultimate track ‘Let The Cool Air Breeze’, though none will ever quite touch this level of ending credit majesty. Now…. freeze frame!
Released on Brighton’s awesome Donky Pitch label, you can pick it up via the links below:
and obv places like iTunes etc. - but no-sense in wasting good cash on boring stores like that when you could be making it rain all over your beloved household cat.
Some concluding remarks on this year past - but more importantly, loads of mad links to tunes ‘n’ that. This is the unabridged version where I just geek out to the max, no holds barred. Hope some of it proves interesting to dig through.
COMRADE MASSIE / DAOJIA
S-Type - Rosario EP [LuckyMe]
Some extra (free) mentions:
Disclosure - Tenderly (Tom Wrecks Remix)
Lakim - Future Bounce
Thriftworks, Ta-Ku, Nuages, Kaytranada, 123Mrk, Andrés, Tuff Wax (Yoin, Lockah, Jaw Jam, Grobbie, Bones & Money, Zubuntu), MAKO, Guised (Official), MssngNo, Blackwax, Klient, Seath, EPROM, Cashmere Cat, Two Fresh, Flume, Flatbush Zombies, Moderat, Ghost Mutt, Slackk, Bondax, Paul Woolford / Special Request, Huxley, Kahn, DJ Clap, ISLAND…..
Wish everyone the best for this new year - and if anyone is stuck for sometime to listen to (unlikely given that top 10/100 lists are spewing from every music outlet like nobodies business) or you want a range of different stuff - have at some of the above :) ^^^^^
Free download of some sensual, stripped-down house - courtesy of two prime Glasgow talents. Here we witness adept production of Mirrors fused with the sumptuous vocals of Amy Lyon in 6 minutes of effective musical hypnotherapy. The track’s discreet use of chord stabs and gentle rhythm are kept relatively non-intrusive, so that when combined with Amy’s sultry, come-hither singing they beat a melodious path to victory similar to the ones recently trodden by artists such as Disclosure and Bondax.
Furthermore, it’s a pleasure to note that Amy has been lending her voice to other local producers such as Barrientos and Atlus - as well as cats as large as Detriot Swindle too -definitely makes her one to keep an eye on. Respect.
Just had one of those absolute eureka moments whilst making breakfast, one which answered a major question previously clouding my brain: wtf is Kanye doing with himself?
Then it dawned on me, and you’ll have to bear with me on this controversial theory, ‘cause I believe it explains quite a bit (then I’mma letchu finish).
KANYE WEST IS MORPHING INTO HOMER SIMPSON
It makes sense - he’s been gradually piling on the pounds and going for a baldier look (like Homer). The facial hair around the mouth is considerably more prominent than once was (like Homer). His IQ seems to drop each time he opens his mouth (like Homer). He’s also getting married to someone who could be considered slightly out of his league physically (like Homer did w/ Marge).
I think the most important fact to bear in mind with all this though is that Kanye, like Homer, has believed (or at the very least inferred) that he is capable of numerous different jobs with no real qualification:
- Fashion Designer
- Consumer Electronics Developer
- Basketball Player
and most recently,
(Note: most of these Homer has turned his hand to at some point)
It makes sense given that, for several years now, The Simpsons has been on something of a downward trajectory in terms of quality. This means that there is now a void in the American conscious that Kanye is now consigned to fill - his role is now providing popular, low-brow entertainment on a daily basis.
Not all of you will agree with my theory but I stand by it, and furthermore, I recommend that they allow The Simpsons to be put out of their desperate, reference-filled misery and be replaced with either an animated Kanye show (with him working various jobs in lieu of his own) or the infinitely more funny Simpsons pictures that I gone and done.
Thank you for your time.
Final track on Si-An’s ‘African Girl’ EP, a free 7-track rework of the namesake tune which features a whole slew of producers on either side of this little island as they pay homage to the diaspora of African rhythms found throughout UK bass music. In my own ‘umble opinion the best was duly saved for last as the original song’s simplistic 2-step formula is finally brought into the kind of deep territory still left uncharted by the previous 6. Fault Lines and De Courcy give the track a new feel; an unorthodox pattern of hypnotic claps and tribal sound, replete with string and choir combinations that bring it all to life. Wouldn’t be entirely averse to the idea of having it playing over some time-lapse shots of the savannah whilst Mr. Attenborough gently warbles over it in his appealing tone - although I reckon he could spit bars on anything really.
Glasgow’s O2 ABC saw Bonobo (Simon Green) and his ensemble elegantly reinvent the better part of his two most recent albums using brass, guitars, keyboard, drums and a whole host of hardware.
After witnessing it all in person you can’t help but feel this North Borders Tour is setting a high standard for producers looking to convert their work into a live performance.
To set the tone synth maestro Dauwd unceremoniously creeps onstage for a spell of intriguing live production. Although the tempo hovers at a relatively unchanging pace, steady progression through various overarching pads and melodies manages to captivate an already sizeable audience.
Then, following a brief transitory period, Green and his cohort of musical talent set about a well-refined tracklist with great gusto.
Initial songs like ‘Cirrus’ and ‘Sapphire’ take on something of a soft-rock aesthetic, making them sound like everything bands such as Coldplay should be, yet remaining inoffensive enough to introduce your mother to.
Surprisingly, there doesn’t appear to be the standard sea of cameras you’d expect from a less dance-orientated gig, possibly a testament to the truly spellbinding nature of songs like ‘Transits’, ‘Towers’ and ‘First Fires’, where vocalist Szjerdene‘s delicate serenades take pride of place among intricate harmonies, while trademark harp, bell and violin samples are in abundance.
The only paradoxical issue seems to arise where the ambitious lighting displays actually serve to obscure individual performers, given that part of the appeal stems from carefully observing them rework tracks in person.
However, for the more discerning of Bonobo geeks, this doesn’t really prove an issue to those knowing the original tracks to compare to, and that’s how it should be.
Awooga! Dubplate alert.
New upload inbound.
Target locked [http://soundcloud.com/misterliddz]
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An ace up the sleeve of Scotland’s bass music consortium, Mister Liddz seems most on form in the midst of two fat KRKs - huge sub bass kicks becoming the bane of his neighbours and the saviour of any waning dancefloor. After taking second in Outlook Festival’s 2012 producer competition he’s garnered a level of attention more befitting of his talent, but still far from what could be (as is the way with all the most prolific of producers - no time to shamelessly self-hype you see). This dubplate gives a feel for the kind of 808 type henchness he’s been indulging in for the past while, almost entirely percussive with just a sparse layer of pad, it leaves no option but to twerk your ass like a baboon in heat. Subwoofers at the ready plz.
I know it’s childish, but sometimes I like to just put my cursor right there on the dock when I’m in need of a little cheering up.
(TL;DR - this is a mix what I gone and done, pls listen and enjoy)
Now, being an industrious little cat in many other mediums, I only make around one studio mix a year due to:
a) time constraints
b) the fact that I’m an insufferable perfectionist who is never content with anything ever (so it’s always a lengthy affair).
However, this time I went that little bit further in creating what I’d like to consider my own musical manifesto - featuring a sizeable selection of my favourite bass-orientated tracks through the past few years right up until recent weeks. Some are classics, some are rarities. Parts of it are intense and fast paced, other parts are slow and melancholy (ranges from 70bpm to 170 - and back again). In short, it’s a barely cohesive blend of that shit I love.
So in light of all this, I’ve tried my utmost to combine everything together into a listenable mindmap of sorts, requiring me to splice together all of these songs with just the right mixture of musical instinct and cold hard theory (for instance, the circle of fifths applies right the way though and it traverses the entire scale several times). As a combination of various mini-mixes and homemade mashups it’s been something of a challenge to puzzle out; navigating through 76 tracks-worth of mad counter-rhythms and key changes as tempos rise and fall, all the while trying to time everything just right in the hope that it’ll represent at least a slice of my own tastes and influences via one epic narrative (introduced not-so-subtly by a track of my own).
In light of the complex nature of what I’m trying to explain, I’ve taken the liberty of expressing the tracklist as a mathematical equation in order to try and explain how it all fits together, at least in my head - here it is:
(the full titles are below in the simplified tracklist)
Several months worth of lost sleep, ears worn away by the constant shifting of headphones and the onset of madness from perpetually mixing together the same pieces of music over and over again - and still, the result is something I feel was well worth the time and effort. I hope you cats enjoy it too, and if you don’t….
…. I’ll fucking kill you.
Comrade Massie - ASCII Pornstar
Ambassadeurs - Duke Red
C.R.S.T - Forever After x 123Mrk - Noname
Pariah - Crossed Out
Claude Vonstroke - Who’s Afraid of Detroit? (DJ Madd Remix)
French Fries - Yo Vogue (Leroy Peppers Remix)
Lil’ Flip - I’m A Balla x Dorian Concept - Trilingual Dance Sexperience (Patchwork Pirates Mashup) x Drake - No Lie (Cashmere Cat Remix) x Sleigh Bells - Demons (Diplo Remix) x Kanye West - Mercy (HeRobust Remix)
Mayhem x Antiserum - Brick Squad Anthem
Butch Clancy - Dopeboy
TNGHT - Bugg’n
Giraffage & XXYYXX - Even Though (Teen Daze Remix) x Daedalus - Curtains Don’t Lie
Shackles - Let You Know (Tigerblood Remix)
Obey City - Neva Knew (Bauuer Remix)
SBTRKT - Never Never x (Yuna x Adventure Club - Lullabies (VILLAGE Remix))
Falcons - Vrroom x Interface & Minus - Hardwork x Vanguard - E C H O x Vanguard - E C H O (RPTL Remix)
Thriftworks - Tlaloc
Ta-Ku - Hey Kids
Mr. Dibiase - Keep On Runnin’
Kouben - Passion x Sonic The Hedgehog 2 - Mystic Cave Zone (Asis Galvin Remix)
Sonic The Hedgehog - Special Stage (McKnight Remix) x Polkadot - Daydream
Plezier - Plezier Anthem x Purity Ring - Saltkin
LV & Okmalumkoolkat (LDFD Remix) x Count Clockwork - Boomkleta
Oliver Huntemann - Rikarda x Rumah - Stutter x Blawan - Why They Hide Their Bodies Under My Garage? x Asykan - Lear x Joy O & Boddika - Mercy x (Rommek - Kicks Like A Mule x Sharooz - Get Off)
Collect Call - Actin’ Up
Artful Dodger ft. Craig David - Please Don’t Turn Me On (UK Garage Remix)
Lando Kal - Further
Cosmin TRG - Move Dis x El-B ft. Juiceman - Back & Bury x Guised - Finish
Pangaea - You & I
Grobbie - Man In Flux
Darq E Freaker - Cherryade x C.R.S.T - Saturday Tingz
Kidnap Kid - Shouldn’t Be Alone (123Mrk Remix)
Groundislava - Living Under A Rock x KP & Envy - Swing My Way
Disclosure - I…. Love That You Know
Wih’lo - Tell Me x Morri$ - White Hood
Foreign Beggars - What’s Good ft. Lazer Sword
B-Ju - Cry Wolf (123Mrk Remix) x Mya - Love Is Like… (Jaw Jam Bootleg)
SWV - Rain (Two Fresh Remix)
Hudson Mohawke - Overnight
Final Fantasy VII - Fanfare (Evil Needle x OriJanus Remix) x B Bravo - Substance ft. Lady Alma
Alizzz - Whoa!
Cosmic Revenge - Late Nights (Kastle Remix)
Katy B - Witches Brew (Silkie Remix) + Silkie - Who Knew (Dubstep Allstars Vol.09)
Mount Kimbie - Maybes (James Blake Remix)
Taz ft. Yasmin - Drunk Sex (Remix)
Synkro - Who Don’t You
FaltyDL - Brazil (Rimz Remix) x DJ Spinn - I Really Feel
Interface, Minus & J Wilcox - Delicious x Ital Tek - Solar Sail x Bonobo - Eyesdown (Machinedrum Remix)
Lindsay Lowend - GT40
HAHAHAHAHAHAHA NO WAY…..
They actually used the hillbilly mugshot I gave them for real - complete with my dungarees and wheat stalk. Can’t wait ‘til they ask to see my student ID at the ye olde union (which I prefer to call the ‘confederate’).
"Now y’all leaves me alone now yuh durn yankee devils, ah’m jussa young country fella tryin’ tuh do summa that ol’ book learnin’s."
P.S the barcode is shifted around so duplicating it wont work ;) *yukyukyuk*
Exhibit #405: Hieroglyphics depicting scenes from that club they call ‘Afterlife’.
After many hours of childish stencilling, drawing, painting, spraying, filming cutting and editing - the finished product: the official video for CountClockwork’s new track ‘City Of Gold’ - made by yours truly using a combination of mine own footage and some action from the gold-faced crusaders themselves. Due for release on TUFF EM UP! / Trashbags (AUS) and getting plenty of love from the likes of BBC Radio 1, Bloody Beetroots, Jacques Lu Cont, The Japanese Popstars, Bart B More, BOT (Crookers), Sound Of Stereo, Dem Slackers, Ego Troopers, Paul Chambers, BOTNEK, Night Crime, Hoshina Anniversary, HOSTAGE, Rob De Large.
Official remixes from Myam Myam & Polymath, live edit from BOT (Crookers).
(from Burial vs. Sisqo - Stolen Thong, undoubtedly one of the most beautiful mashups of all time)
From the first instances of blatant rip-offs in hip-hop instrumentals (a rich tradition that continues today *cough* Will.i.am *cough* Kanye) the art of sampling has undoubtedly evolved beyond just straight copy and paste antics, allowing hitherto unknown artists a chance employ a little subtlety while avoiding the long arm of the copyright law.
In terms of the former method, P.M Dawn’s relatively forgettable 1991 hit ‘Set Adrift On Memory Bliss’ made gratuitous use of Spandau Ballet guitar chords in a way that seems almost lazy now. Puff Daddy (as he was rather queerly billed as back then) teamed up with Faith Evans and 112 so that they might wholeheartedly lift a Sting & The Police tune and clean it up in tribute to Biggie (who himself had a number of recognisable samples throughout his work). De La Soul jacked a Funkadelic track for ‘Me Myself and I’. Pitbull, in various crimes against nature, has cannibalised songs that have cannibalised others…. the list goes on and on ad nauseum.
Not that there’s anything wrong with putting your own spin on a selection of good music, but contrast those with some of the thrifty sampling in recent electronic music. Old tracks are recycled in a way that remains virtually imperceptible and perhaps serve to tip the proverbial cap toward an artist’s musical influences as opposed to overtly copying something over a breakbeat. Yes, a lot hard graft goes into dissecting riffs and vocals in order to incorporate them into something very new and novel, which may be especially important when teams of lawyers from the likes of Sony, Warner, Universal and EMI circle like hawks overhead and your pockets remain relatively empty thus far.
So, with that in mind are a few interesting yet overlooked examples o’ samples that work nicely, yet don’t bear much resemblance to the original source:
»» Ray J - One Wish
I don’t know why but I find this one absolutely hilarious. Maybe it’s the contrast between the eerie, post-apocalyptic garage vibes of Burial (replete with haunting choral bits from Metal Gear Solid 2) and Ray J’s cringe slow jam crooning in the rain - with lyrics that might as well be saying “ain’t easy being both Brandy’s brother and Snoop’s under-appreciated second cousin, peep my new sex tape out next month, better than that old Kim one, swear down, please?.. please?!…. love meeeeeee”.
As Blawan responds with a question of his own, we find that the slightly spooky tone of a Fugees classic from their magnum opus The Score actually becomes the score to an unwritten horror flick all its own. Imagine being hunted down by the ghost of John Wayne Gacy (in full clown suit) as Pras Michel’s pitched down vocal resonates throughout the corridors behind you. *shudder*
Before I Move Off's serene blend of acoustic and electronic does very little to betray the source of the cutesy vocal cuts toward the end. That’s why I found great pleasure in the realisation that, when you listen closely, they’re actually little snippets from Missy Elliot’s One Minute Man - though that tune happens to be kind of sexy you shouldn’t really take home to meet your folks, for that I’d stick with freckle faced innocence of Mount Kimbie’s release.
It’s not so much that this sample is hard to equate with the original, it’s more the fact that once they’ve been pitched up in Bauuer’s upcoming track the diva-esque lyrics are a little harder to decipher (“snap of my finger and I clear out your whole crew”). Thus, numerous attempts at guessing what they say have ended up missing the mark to rather humorous effect. Possibly the most ridiculous one to catch on would be “sniffin’ my bacon and I can’t get to the kitchen”, which I’ve seen posted alongside it several times. However, I find this highly implausible as any self-respecting diva could get access to bacon just like that if she wanted - so thats instantly ruled out of the candidates in my view.
Update: Saw that the top comment on the Alias upload is someone actually getting upset about folk mishearing it. Honestly?! Get a grip. Bet they take Harlem Shake dead serious too.
Another oft misinterpreted vocal cut (“I smoke dope, you smoke dope with a happy meal mate?” as opposed to “I feel better when I have you near me”), this time due to it being sliced about and pitched down to the point that it sounds like Janet was the one who secretly stole all of Michael’s testosterone for herself. I must confess, I find the natural sounding steel drum rhythms a welcome departure from the awful 80’s synthesised beats that characterise her cack teen-pop effort. Prime example of Mr. xx recycling a sub-par piece into something worth the listen.
Asides from running the tempo right up the flagpole knowing everyone will salute it, Eats Everything somehow keeps the sensuous feel despite skewing and gating the vocals every second bar or so. Whereas Kromestar’s reinterpretation of this track kept cautiously close to the original, adding only some beefed up drums and sub bass, this edition threw the whole song around the bedroom in a flurry of sweaty limbs. Although it doesn’t get further than the first two lines of lyrics, it deserves respect for totally revitalising this Floetry track in a seemingly effortless manner.
A footnote more than anything. Only just realised that, besides the original “tell me” vocal, Kingdom’s spruced up edit makes use of an a capella of Keyshia Cole’s track Love - an R&B ballad that’s filled with parts just ripe for the sampling. Astute choice good sir.
*duly submits it to whosampled.com*
Hope some of these have been of mild interest to you if you’re an insufferable geek like myself. As you most likely know there’s a whole treasure trove of weird sampling choices that have been worked into big anthems for one reason or another, and so I would encourage anyone to pick up the shovel and dig dig dig - as it can feel surprisingly rewarding to trace the links between them like some kind of prospector of musical knowledge. Happy hunting ya varmints.
New track out as a free release courtesy of Witness - Sneaky Petes - lemme kno whatcha fink yeh? Shares/comments/likes will all be reciprocated with a tender love that echoes through the ages.
*Inspired by / shout-outs: Interface & Minus, lords of juke DJ Rashad & DJ Spinn, MssngNo, pretty much every 90’s r&b diva (especially SWV), the indigenous Lakota tribes of North America, Minimoog V plugin, Lavender Town from Pokemon Red/Blue - and the untimely passing of both Calum Fraser and cousin Fifi - still think about you both whenever I play this track.
Taking the strongest elements of Lockah’s original work into account, intravenously injecting a bright purple mixture of syrup and steroids into the body of the tune has yielded some impressive results. While the original sounds akin to S-Type’s ‘Billboard’ in terms of epic orchestral quality - the toughened, saw-wave slide of BF Hoodrich’s remix shares an appeal with moments of Joker’s Tron synth. Both versions are big, bold, and highly listenable (it’s more a case of your karmic alignment on any given day) and anyhow, you can pick up the two of ‘em for free on Lockah’s ‘Please Lockah, Don’t Hurt ‘Em’ EP released via Mishka NYC:
Shouts to Miss Pollyanna Tatiana for capturing Bongo Dog at his finest: https://soundcloud.com/pollyanna-tatiana
http://soundcloud.com/tazbuckfaster (BF Hoodrich)