Lil B "The BasedGod"
Bottom line: Lil B is impossible. He swag tugged on Kanye with that album cover. 05 Fuck Em went beyond extreme entertainment. Speaking volumes as post-deity; clarity and foresight further than his own: BASED. Believing in everything he spits, including the notion he’s BASED every recording. Lyrics as fucked up as the bloodiest of MMA matches. Playing them reality television politics while calling himself out; being everyone but himself, including himself; deBASing all other rappers thinking they swag on him, NAH!
Lil B’s duality of self is dimensional, the perfect blend between cis- and transsexual being. Ego smashing its head against Lil B AND BasedGod’s heads. But he’s Reggie Miller, Danny Glover, Martha Stewart, Fabio; he fucking your bitch RIGHT NOW! RE: Fmbn, TYBG, gor, BGYCFMB. Do as you do while submitting your faith to the BasedGod. Find the time. Make the time. Be on his time. Pop off in Basedworld Paradise. It’s best less on RANDOM, but mix it with the rest, and you’ll reach based dynasty! Grip below:
• Lil B “The BasedGod:” http://www.datpiff.com/profile/LilBtheBasedGod
Emil Amos has been busy enough with Grails and Om and Life that we can forgive the 15 years that have elapsed since releasing the original Lost Decade collection with Holy Sons. This is made that much easier by the fact that he’s promised us “3 different records” this year alone, salvaged from over 1,000 different songs in a bout of cathartic cassette archaeology. Lost Decade Volume II will feature 14 unreleased tunes from 1995-2002, including the gem bellow, recorded almost accidentally in a stoned session with Duncan Trussel in 1996.
“Young Man” gifts us a memory within a memory, not pulled intact from the cognitive bank, but set loose by the material prompts of fields, dogs, chord “structures,” olfactories, factories, and good drugs. Nudged into conversation. Amos’ voice sounds remarkably full for the context, world weary without lapsing into self-importance. The hiss of the tape sprinkles his higher registers and louder exclamations with a comforting grit and grain, adding a sonic accompaniment to the experience of crackly recollection. The song meanders with purpose in that way Holy Sons honed so well, pulling you out from some bong-smoked college bedroom just long enough to leave you reeling when the end comes too quick: “Is that it?”
Holy Sons’ Lost Decade Volume II is out mid-March on limited clear vinyl, courtesy of Chrome Peeler.
Yo, you know what? Unintentionally, I did the best thing I could for Stage Hands’ new single “Adaptive Lines,” which was waiting until Monday to write it up. As it had been posted by my boii Dwight @SecretDecoder last Wednesday, and one-half of Stage Hands, co-creator of My Idea of Fun Brandon Locher sliced me a few days before, sitting on this track was totally worth the wait. Like, it fits perfectly in light with Monday morning, going to work on a holiday, and feeling the build up of the day.
Weather is brisk and rings out a hollow chill that warms as vibrations bounce back and fourth, as does clothes against skin and hair against heat. Stage Hands help me grip my wheel and flick on their new track “Adaptive Lines” through my car stereo. Typically I’m listening to Beyonce’s new album by this time cause of the bass, but WAIT, duo Gerald Mattis and Locher both banging this beat into new horizons as my work blues melt away and give me room to breathe, GAT DAMN! And Sean Jackson on that KORG MS2000 melodying out some nasty-nice is like massaging my brain of all the toxins of the weekend, ready for new ones I’ll recieve via e-mail throughout the week.
Follow the My Idea of Fun homepage and SoundCloud for updates on new release, cover art is called “Mazes to the Motherlode XXX” by Locher, but in the mean time, flee your anxiety by streaming Strange Hands’ single “Adaptive Lines” below:
• My Idea of Fun: http://www.myideaoffun.org
Australia’s naps is preparing the release of his first “long-player,” a lush 14-track tripper for This Thing. Entitled Hydrate, the album does much more than satiate my love for the deep and aqueous. It has a powerful transcendence radiating from the depths of its meditation. The single “For Sale” is a lo-fi, gooey sonic exploration. It bubbles and tumbles along via rickety percussion smoothing out a steadily jelly synth, milking and winding ‘til we expect some sort of a drop. Instead naps gives us an introspective slew of arpeggiated nostalgia. The effort is an evolution for traditional “beat-music” which can become all too often redundant and unexplorative. Naps resolves any superfluity with ingenuity, elevating contemplation to a next level. Next level things are cool. Naps’ new album is cool. If a=b, and b=c, then a=c. Listen.
Chocolate Grinder Mix 101
I Know What Died On That Cross
I Know What Died On That Cross.
I’ve Got Blood In My Eyes.
All I Care About, My Whereabouts.
Bop To The Right, Bop To The Left.
This, Right Here.
The White Man, I Say To You Over And Over Again.
No Guns, No Mask, All Pain, Red Eyes.
I Know What Died On That Cross.
Stream below, and subscribe to our podcast here.
[00:00] E+E - “Moth”
[00:54] a i r s p o r t s - “Transgression”
[04:00] Perera Elsewhere - “Bongoloid”
[05:16] Dean Blunt - “Viper”
[07:20] Dlow - “Dlow Shuffle”
[09:16] Bloody Jay Feat. Future - “Nothing But Some Pain”
[10:55] Blackhoods - “Doomhound”
[12:49] DJ Maboku - “Instrumental Pe”
[13:55] Chief Keef - “All I Care About”
[17:43] Color Plus - “Pretty”
[20:17] Lil B - “Smack”
[22:50] Dean Blunt - “Whip”