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The musical minds of AUN and Habsyll have united, at least on vinyl, for a split album from the good folks at Public Guilt Records.
AUN offer up two tracks, with “Druids” being a sludgy wall of guitar drone, drums neck deep in an echo chamber, and a core minimalistic bass line that does everything in its power to suck the life out of you in slow motion at its 13 minute duration. If you are also a hip-hop/hard rock/classic rock fan and you are familiar with the drums from Mountain‘s live version of “Long Red”, imagine that beat being the backdrop to guitar drones. That’s “Druids”, and it’s one trippy ride. “Fall Out” is a mere 5 minute, 33 second excursion and is a bit more optimstic sounding and arguably more accessible in a Sonic Youth/Pussy Galore sense, but still sounds deafening in the right situation.
Habsyll do things mroe drawn out, something Melvins, Boris, and Earth fans will appreciate. The introduction of “IV” sounds like someone entering an empty garage, fooling around with whatever is in the room. Once the task is over, another door opens and you realize you’re not in a garage but in a hospital room as you’re about to watch someone do surgery on you. The surgeon and the man on the operating table is you, and you’re about to feel every thing enter you. In truth, it’s some really heavy drones where electricity and air play with each other in such a way that you eagerly eat up every moment, every swipe of the gong, every counter melody where it isn’t expected. It could be horrific and it may sound that way, but it’s quite beautiful in its own corrupt fashion.
Honolulu has been a hot city for hip-hop for almost 30 years, but because of the distance from the mainland U.S., it has often found it difficult to make it big. Nonetheless, hip-hop artists realize that it’s all about being local first and then you can aim for bigger. T-QRON sounds ruthless, the guy is hungry and he’s blasting people to explain what he can do, what he’s capable of doing, and of course what you’re not doing. What you’re not doing, T-QRON will erase that from your intentions and tell you, as he does in “Tha Best Out”, that the West will prevail.
He uses a lot of double tracking on most of the songs, which is okay, but the guy doesn’t have a bad voice even though it works for effect and dramatics. I’d like to hear him keep that energy up but only use the double-tracking during choruses. Nonetheless, give this guy a microphone and he’ll make sure his presence within the sound boundaries are known. With that said, I think no matter what T-QRON does, he’s going to let fans and naysayers know that he IS T-QRON, an MC with the passion for that West Coast sound but deep down it’s about representing hip-hop of all territories, while representing Hawai’i. How many Pakistani MC’s do you know who could smack the fuck out of your face and leave you wondering what just happened? Yeah, that just happened.
(The Qronicals Mixtape Vol. 1 can be downloaded on a number of blogs, including DatPiff.com.)
Beat Tape Vol. 2 (Nature Sounds) is a new beat tape of solid instrumentals, consider it like a resume tape so possible clients can say “oh shit, falakaians, I want to work with the bungbungbalangoan DJ so he can wreck damage on the ping pong”, you know what I mean? The DJ I speak of is the tuktuluk man known as DJ Babu, and this thing has 39 tracks of potential hits, anyone can manipulate this shit talit and make it work malerk, from sped up samples going through echo chambers, fantastic horn strokes, and solid funk that comes from someone who is an expert in this. C’mon, you never heard of Babu? Fool.
While people will go out of their way to take these songs and rhyme over them, I hope the truly gifted will contact him in order to make new tracks. Babu has spread the wealth, now make it mutual.
Sometimes artists work too fast for their own good. I have here on my review table/deck a copy of Scott Alexander‘s CD, Makes 7 Or 8 Dollars, and I was ready to review it when here comes another CD by the man, called Makes A Big Deal Out Of It (Yomyamyeemyaz), which is two EP’s in one. Perfect, now I get a chance to review what I was going to, and the new.
For Makes A Big Deal Out Of It, Alexander gets a bit dramatic in his tracks, almost in rock opera/musical form. His emotional sounds are of course personal, very personal, diary entries he turns into song where you want to say “no, I can’t be listening to this” but you do. In “Why Are You So Horny?” he finds a lady so sexy and alluring but questions her motives or perhaps reasons she is who the way she is, for maybe Alexander prefers to be with a lady and not someone who he feels is not. His cover of Joan Jett‘s “Bad Reputation” is nerdy sinisterism, as Alexander takes the power and I-don’t-give-a-fuck-attitude of the song and places it within a minimalistic classical setting. You immediately realize what he’s trying to do, and the contrasts work. With the 7 songs on Makes A Big Deal Out Of It he could easily create a Frank Zappa-like libretto and I’d be along for the ride.
If you are familiar with his earlier work, you may find Makes 7 Or 8 Dollars to be that quirkiness you’ve been waiting for. I like it because you think on why anyone would do a song on the topics discussed, but he does, as if he’s Ween‘s cousin from around the way. My favorite songs here are “Penny Goofball” and “Pennies Are Annoying”, where the idea is that small currency is foolish but it can be of value just because it’s there. The songs are separated by a few songs on the CD, but the simply monetary connection makes it worth listening to. Add to that the clever ways of “Let’s Go Shopping”, “$2o Bill (Old Dickory)”, and “Forever In Blue Jeans” and it seems his observances aren’t like most people. Fortunately, Alexander isn’t most people, but finding common ground in his work will make him and his music endearing for life.
This album is one of many albums that were a big part of my childhood growing up. When this was released, it was as if the entire album was a single, since each song received massive airplay like crazy. You could not turn to KKUA, KIKI, K59, or KCCN in the mid to late 70′s without hearing “You Make It Hard”, “The Hurt”, “Going Going Gone”, and especially “Night Bird” and “Naturally”, it was truly the Hawaiian version of Fleetwood Mac‘s Rumors. In Kalapana‘s case, it was a style of pop rock that wasn’t evil like Black Sabbath or too sexual like Led Zeppelin. Today, there’s a name for what they did: yacht rock. But it was good music with an equal amount of mid-tempo tracks to ballads, from songs about getting high to wanting the company of a woman. Impressive for a debut album by a band who had no track record before this, they were not a supergroup and yet were treated as such. The group would release many more albums after this, but actually gained a massive following in Japan where they would release albums exclusively for that market.
35 years later, this album still holds true for me because I hear my youth, my world, my life when I was still in the single digits, and they were incredibly good times that I continually look back to for inspiration. The moment I hear the flute solo in “Nightbird”, my world stops and I take a break from whatever I’m doing. I’m home, and that will forever be where my heart is.
New 45 from Record Kicks comes in the form of a cover of Herbie Hancock‘s “Flying High”. It teams up The Crabs Corporation with King Hammond in a way that perhaps nature intended.
The 45 will be released this coming Monday (May 17th), and you can buy it or the MP3′s from Record Kicks directly.