L'Orange & Kool Keith
Imagine, if you would, that the being known as Kool Keith was not after all a human named Keith Matthew Thornton who was born sometime during the latter half of the 20th century, but actually an interdimensional traveler’s offspring who was raised with no concept of time as we know it, pop-locking between eras like a military brat changes states, until getting separated from his birth parents during a test flight, like Cyclops from Corsair, and ending up with a Bronx foster family and an on-again/off-again mental blockage that obscures his memories of these (past?) events.
That would explain why Kool Keith has been able to sustain a successful career as a hip-hop performer past the (supposed?) age of 50; his penchant for creating and killing off time-traveling alter egos; why he was recently drawn to work with Nashville-based producer L’Orange, who’s best known for crafting instrumental storybook-soundscapes using pre-1950s jazz records and old time radio shows; and why their collaborative project aptly titled Time? Astonishing! “is about a man in the early 20th century who is a bored explorer and finds technology to go into the future - but he does so without any sense of adventure. He travels through time as if he is traveling to Tuscaloosa. He is then hospitalized as insane and then goes into suspended animation (a metaphor for his subconscious while sedated in the hospital).”
Watch the video for track 6 here, stream the full album below, and exchange your time credits for the CD or LP via the nanotech executive produced by Mello Music Group founder Michael Tolle (buy it on his website).
P.S. Look out for Tiny Mix Tapes’ feature interview with L’Orange, which is scheduled to take place this Thursday and be posted online sometime there-after, but truthfully has always existed, is happening right now, and will continue forever ad infinitum.
AVRVM / The Fathers
Live 1: Ritual/Pioneers
As time draws nearer, the “Ritual” is always eager to praise. Here on JASS’ new Live-series, AVRVM is pensively providing pure sample worship in a collage-sacrifice performance, taking stabs at databanks of sounds and samples. Ranging from teetering to long-bleeds, “Ritual” lays to waste the spastics of generally all our environments, whether we’re your stuck on an island, in the 16th floor of a high-rise, mowing your sixth acre, or surrounded by others laying on the floor of a venue somewhere in NYC, zoning out to AVRVM, live.
And we’re not fooling here, because The Fathers, on the Live 1 flip brings equally poisonous and infections hums and twinkles, more synthetic, but appropriately gazed. “Pioneers” finds territory marked by the known-unknown, as if we’ve all been to this point before, but never quit like The Fathers produces. But live? Like, imagine the slow building of an artificial human, and this is the new founding set of “Pioneers.” Bit by bit, this creation of human as a human, furthers the being of what is predictable and completely built up and blasted within. The Fathers not only achieves this exhilaration of nu-age enlightenment, but also breaks it down just as crudely, in an array of soundvisions.
Live 1: Ritual/Pioneers is out TOMORROW on JASS, so don’t sleep on this puppy. Just click play below and let AVRVM / The Fathers do all the talking:
Beautification in the studio. Stems of yellow wildflowers weave with cables. They run along willy-nilly: touching walls; not touching walls. Yellow wildflowers grow up from their microphones, turning their heads and looking at no one in particular. Maybe looking at the engineer? The engineer’s sneakers are propped up on the dashboard. A soapy spiderweb starts at the right sneaker, the sneaker that taps with the two and four beat. The engineer is dressed down.
The singer is dressed for food service. Black polo; black shoes; ballpoint pen. Some notes crumpled up in their pockets, scribbled during slumber. Their hands are washed.
Someone else, close to the singer, is taking their shirt off, gyrating, hula-hooping down their black pants to reveal red-striped underwear and a barber’s pole. The black polo is completely off; a well-developed core is exposed.
The engineer is dressed the least appropriately.
No matter the uniform, they are ready to serve. They are confident, physically and mentally fit - submissive, magnetic.
For all those enchanted with the psychedelic street realness of Sicko Mobb, Soulja Boy’s “High School” offers an ominous take on this not-quite-yet-an-actual-subgenre of hip-hop. The overall effect is like a threatening take on Sinatra’s “It Was A Very Good Year,” walking through each grade of Soulja Boy’s high school career. While the combined swirl of psych and trap sounds has an impressively delirious quality, it’s the disorientation surrounding the lyrical intention (informative? cocky? proud? inhuman?) that truly gives the dense composition an impressive level of purpose. As a bonus, the short outro, where the layers are peeled away, is a nice and informative moment that allows us a glimpse behind the wizard’s curtain.
Soulja Boy’s latest mixtape, M & M: Money & Music, is out now.
• Soulja Boy: https://twitter.com/souljaboy
Delofi Teaser Mix [Preview Video]
Nobody “gets” jazz. There’s not enough soul to save the world. Funk found fire and fried. R&B adopted robots. Where do we go from here? Re-appropriation.
This is a generation ritalin’d with anxiety. Minds are just racing through zones, uncharted. CUE: Delofi’s immersion from the raw-video smear and watching him go NUTS.
Perfectly brandishing Delofi’s current home – the UK heavy-hittnig, Acorn Tapes – NUTS is 40 minutes of pure, leg-shaking melt down. So put that Delofi Teaser Mix YouTube on repeat, and fleek them nerves.