JOHN DOPE feat. Rahim Sahad
Like stickers slapped onto stop signs, DIRTY TAPES has an elusiveness which leaks very little information about its going-ons, despite being plastered all over the concrete walls of the Internet like territorial graffiti tags. SoundCoud embeds posted as quick as “street art” jobs drying in a cold breeze, while paint Tumble(r)s downward in crooked lines like a statement refusing to stay as small as the words that comprise it. “DIRTY TAPES 2014.”
I’m sure I remember seeing a list somewhere of upcoming releases from DIRTY TAPES nearly twenty deep. Couldn’t tell you where I found it. It’s long gone now. Like a leak that’s been plugged by quarter inch cables and snare hits. They’ve got to be sitting on gold, planning on a batch release massive enough to break the game, as if each of the label’s five split releases thus far haven’t SOLD way-the-fuck-OUT already. Hundredaires in the tape game, for sure.
All that being said, I have very little additional information to provide you regarding what the hell’s “For Real” about this JOHN DOPE track, besides the Tampa-based producer rolls in smoothly, sounding like Quasimoto slowed back down to normal speed over a bed of fuzzy yeah-boom-baps from Russian producer Paul Hares, after Rahim Sahad opens the whole thing, carving his own space out of the haze of tape hiss, and putting in the stops with those increasingly rarely-heard scratches. Stream below:
“DIRTY TAPES 2014!”
Somewhere between Grammy Award-winning disco revivalism and disco committing Promethazine-assisted suicide by bathtub drowning is the sound of Flamingosis, the self-titled album by Morristown, New Jersey’s Aaron Velásquez a.k.a. Flamingosis, whose name is taken from a freestyle frisbee move that was invented by the artist’s father, a former champion of the sport. At first, I thought the name was pronounced as one word, like halitosis, but then I thought maybe it’s pronounced flamingo-sis, but now after watching this video, I’m thinking it might be pronounced flaming osis. It all depends on how you hear it, I guess. Coincidentally, the same can be said for these tunes. Are they sample-based electronic pieces, straightforward beats, retitled remixes, or something else? It all depends on how you hear it. No matter how you do that, though, if track two, “1978,” doesn’t pump some life into your head, neck, and extremities, then you need to check yourself.
“Rain At The Fete” (excerpt)
Frame-by-frame my memory recalls Jeriah and Jackie’s wedding of ‘07. “Nah, the weather will never get that bad. Forecast says the clouds will even be missing us,” I remember Jeriah explaining why they’ve no canopy while feeling the first drop of water on my head under a darkening sky. And as I had imagined at the time everyone running away, everyone just-so-happened to have brought their umbrellas, and are guarding them and their loved ones from getting damp; the best man is the only one getting wet, as he holds two umbrellas for the bride, groom, and officiator. The rain is loud, there’s a bit of a rumble in the clouds, but the initiation is fairly audible. Sun light continues to appear and disappear, beaming upon the ceremony and audience members. I can even here a few people crying and whispers of, “She’s beautiful.” But everyone exclaims in joy as they kiss, and clapping becomes louder than the umbrellas that haven’t been dropped.
Alex Cobb gives us a glint of his newest LP Marigold And Cable through an excerpt of “Rain At The Fete.” As head fellah of Students of Decay, Alex Cobb has a good background on trailing and droning sounds. New LP Marigold And Cable is limited to 500 copies, was mastered by James Plotkin, and the first 100 copies include a chapbook of poetry written specifically for the record by Peter Gizzi. Pre-order here and get a taste of “Rain At The Fete” streaming below:
L.A.’s 100% Silk is the real. The label is consistently shelling out eternally smooth beats, from Octo Octa to Ital to SFV Acid. Their latest output is a 5-track gem from Bobby Draino, Brain Drain. The lead track “Sean’s Beach” is soaked in an acid deep fryer, crunchy and chewy with a warm center. My hunger might be a parasite to my metaphors here, but perhaps that’s a nod to how satiating the track is. Overdriven drums and heavily saturated leads make me feel like I’m in the middle of sautéing a thick steak, lifting it up and slowly pressing the fat down in a sizzling catharsis — with my kitchen as the club. Definitely a heater. You can cop this delicious EP here.
“All I Need”
Philip Grass gets me. First, they do that increasingly popular play-on-names thing to subtle perfection. Then, they get caught up in all of that rain-heavy Pacific Northwest beat culture, which continues to drop gems. And, lastly, with every new hint of prolificacy-by-way-of-SoundCloud-embeds, the Portland duo continues to filter current tendencies in hip-hop through their Seasonal Affective Disorder approach to beats as fully formed songs in themselves. Take “All I Need” from their upcoming Dropping Gems release Find EP, for example. How it places those piano keys into the mix like raindrops sinking into the dirt. New age flutes slide on gusts of wind through the leaves on the trees. The drums are practically an afterthought until halfway through the track when they begin gently pulling everything else back down to the surface of the Earth.
If “All I Need” is Philip Grass, then I can work with the first single streaming below:
As XLR8R pointed out earlier this week, the entire four-track Find EP is out March 4 on Dropping Gems.