Count Bass D – the man with a flow like smoked butter – took his journey to Cologne and has bubbled back out with an EP of consummate material for all the heads. Recorded during a two week stint in and out of Treehouse Studio with Twit One, Retrogott and Lazy Jones, the record is a true session inside a critical craft.
“My music is introverted, so it doesn’t matter if I decide move to Cologne or if I lived in Indonesia…” (Count Bass D)
Most certainly peep this splash! Mag short documentary that was filmed alongside the recording time. The Count discusses rap music’s move into sound design and the contemporary quandary of using a laptop and software like an instrument (“By the time that they start to get familiar and comfortable with it – the new update comes out… More people are more concerned with workflow than they are with the actual music…”), hip-hop culture as religion and its relationship with modern rap.
Orders for the record are going from the Melting Pot Music online store right now, so go on ’n get it.
- br_dge WS .❍.
Waves of The Evernow, by Solaris is the album I’m always hoping to find while wading through show tunes, classical, and garish religious albums at my local church opportunity shops. Something so far out from a local church shop – such a beauty would surely hover out for your fingers as you see one another for the first time, willing you to whisk it away and re-enter it into the light (or perhaps the confines of your dark listening room).
Check that tracklist, good god…
1. ‘Solar Winds + The Waves Of The Evernow’
2. ‘Star Creeper’
3. ‘Hour Of The Wolf’
4. ‘Process Sonic Rebirth’
5. ‘Alien Intrusion’
All parts American kosmische, deeply drenched discordant effects, and loping and tumbling prog-infested wizardry, Solaris’ collision of drums, farfisa and guitar could only have come from an Amon Düül-addled band that recorded the album in a room with “two coloured light bulbs hung from the ceiling, one representing the red universe, the other the blue universe.” Yessus.
A major thank you to Numero Group for liberating such a dense release. Physical copies are limited to 500 pieces, from their web-store only. I will indeed be doing my very best to get this slice of space glory on wax pronto.
All I can do now is urge you to take a long form listen, wax or otherwise, in that aforementioned dark listening room…
- br_dge WS .❍.
“Getting real high
make you feel nice
Motherfucker I’m freeze-dried
feel like I was deep fried
like three times, man, I’m crispy shit
like fucking fish and chips…”
From the opening seconds of ‘Jive‘ one’s only destiny is to hang inside the fresh wrappings of New Flavour Unit and be fed crystalline crunch. It is beautiful, low-down grease – but forget your previous familiarity with grease – this is high class. Shining, shimmering, shaking.
Headily selected samples tracks hover in and outside of the mix, a sanctioned seasoning of recognition. These track extracts provide a brief connections to the world outside, but other than this it’s the Unit’s lines that dig deep into your ear, nose and throat. NFU’s use of repetition is soporific, you’ll find yourself riding with the tracks long after Disco Diamonds rolls out.
These diamonds scintillate in a way that you can’t see with your eyes, so go get that soy, boiiii and eat it all up with your shutters shut. This is slowlife at its finest.
(Before the release of Disco Diamonds Wee Wah Recordings let out a wondrous sequence of releases, including the Mirrors Up EP, featuring remixes from Auckland’s Tawahinga and Stockholm’s Las Lou - and Lobstershiit, three tracks of prime delectables.)
- br_dge WS .❍.
London based psych gig-promoters Bad Vibration add another feather to their cap with the release of their label-launching first record, ‘Live at Bad Vibrations’.
The multi-venue compilation showcases such chaotic live performances of such choice acts as Black Angels collaborators Night Beats, surf madmen The Wytches and WaxSat favs Cosmonauts. I particularly dig Holy Wave’s Dr John reppin (I think?) track ‘Night Tripper’, chugging out a little shy of 5 minutes of hypnotic guitar and organ bliss.
Have yourself a stream and get envious of the sweet gigs you’ve missed, and pick up the LP if you’re on the vibe!
- Carl WS .❍.
The Groove Gods have rained down upon us a three track EP of glorious cosmique funk – through everyone’s favourite three-frontman band The Stepkids. Only they could create such a delicious salmagundi to get you hopping and striding.
Seeing them live is another jaunt again, so please do when you can. For the good of us All.
Free D/L too. Throice as noice.
- br_dge WS .❍.
“I’ve enjoyed being…real life.”
New Flavour Unit – ‘Disco Diamonds’
Mo Kolours - ‘Mike Black (John Wizards Remix)’
食品まつり aka foodman - ‘HOW’
Spacemen 3 - ‘Big City (DEMO)’
DâM-FunK - ‘Mystery’
Gary Numan & Tubeway Army – ‘Me! I Disconnect From You’
Hanali – ‘StopGo‘
redHat – ‘Fr0n7nL1k3‘
Crosby, Stills, Nash & Young – ‘Almost Cut My Hair’
食品まつり aka foodman – ‘BOKAN_KUN‘
M|A|R|R|S – ‘Anitiиa (The First Time I See She Dance)’ (ᵮ)
Backyard Brew – ‘Tekfunk II’ (ᵮ)
Backyard Brew – ‘Subway’ (ᵮ)
Mink Mussel Creek – ‘They Dated Steadily‘
HANZ – ‘Dues‘ [WS .❍. exclusive]
New Flavour Unit – ‘Mirrors Up (Las Lou Remix)‘
poivre – ‘were‘
Wooden Shjips – ‘I Believe It’
Queens D. Light – ‘Everything Special‘
(ᵮ) = Face Value: unheard gems, or duds, you will find out with us…
- WS .❍.
Tags: Backyard Brew, Crosby, DâM-FunK, 食品まつり aka foodman, Gary Numan & Tubeway Army, Hanali, Hanz, John Wizards, Mink Mussel Creek, Mo Kolours, M|A|R|R|S, Nash & Young, New Flavour Unit, poivre, Queens D.Light, redHat, Spacemen 3, Stills, Wooden Shjips
To get where you’re at, can we get three words of what your week has been thus far?
Surprising, Full and Beautiful.
You studied film at Howard, worked as a filmmaker and seem to have quite a holistic approach to artistic work. In which ways do you think these projects spill into your musical creative output?
It another means of expression. Like, when I create a song or a film its apart of the same source. Working in film it’s more common for me to analyze character strength and flaws in humanity. Because I’m constantly thinking to the characters motivation for action taken in a film. Music comes from a reflective space and I tend to have direct proclamations about the human conditions. In film I’m exploring and in music I take what I’ve learned from that exploration and make statements.
You’re a member of the mighty creative collective Them Hellas, as well as the all female collective Malidoma… both of which place strong emphasis on community, and strength in community. What do you think it was that first drew you into working in this collective environment?
I find it easier to work together than apart. When you are building with like minded folks, it motivational and validates your path. It’s like if my friend around me are working hard an focused then I’m incline to do the same. Collective help me get my community fill as well as help me build my confidence as an artist.
Who did you first loop in with in Them Hellas?
Duckwrth. I was taking pictures at the Team Backpack Cyphers and he stood out from the rest of MC’s. We got to talkin and knew we were from the same tribe immediately.
You’re originally from Los Angeles, how did your move to the Bay affect your creative process?
My mother is from Hunter’s Point, so I’ve always had an affinity for bay culture. The style of talk and way of life all can be found in my music. The Bay area is the place I came into my artistic skin.
Has the move affected what you listen to as well?
Not really. I’m still opened to music in the same way.
You recently opened, with Them Hellas, for KRS One at Yoshi’s, here in San Francisco. What was it like opening for a true hip-hop teacher?
Opening up for KRS One was life altering. He is the true definition of a God emcee and I learned alot from his performance. Plus, he came backstage straight to me an requested I continue to MC. That was magical.
Yoshi’s is typically a jazz venue, where do you find the connection to the jazz aesthetic in your own work? I read you’re a Nina Simone and Alice Coltrane fan.
Exactly. I’m a Jazz fan. I like to the Coltrane’s religiously. A lot of the early hip-hop I listened to had Jazz samples in them. The genre of music is very fascinating to me. The freestyle nature of it. I’m a lot like Nina and Alice; Musical Deities without boundaries.
Now now, you’ve got your debut album ‘California Wildflower’ coming out very soon, right?
Yup! May 28th, 2014.
What does that album title mean to you?
Celebrating the beauty in resiliency. That title is payin homage to all of the flowers that grow from the concrete when no one thought they could break the surface. Folks like Nina and myself.
What do you think people outside of California herself will find relevant in the album?
There’s a certain poetics that are universally understood in my album. If you have overcome struggle and came out stronger… then you will probably relate to my music.
What was the space you were in when creating this work? What had been happening, what had you been thinking/feeling?
Did this lead to you following down particular themes with this, your first album?
When I first started writing songs for this album I was in China shooting a documentary. I was also dating a musician so I had plenty of motivation to create on this behalf. However, like those things go, heartbreak occurred and I began to think about myself and internal feeling more then him. My writing began to critique the current state of hip-hop that I was embarking on as well as congratulate the children who made it from the bottom. All these these variables sculpt California Wildflower.
Who worked with you on production of the tracks?
Them Hellas Producers Auk5 and Halfblack. Also some local producers Sam Wild Cats and Asonic Garcia. Ze Brainchild, Ackryte and Gypsy Mamba blessed me with some production too. My collective mate Joe Mousepad engineer the entire project.
You and the rest of Them Hellas are always collaborating on each others’ work. How important is it that you’re personally close with who works with you in your art?
It’s important for things to be organic when I create. We don’t have to know each other personally for creation, but we def should naturally vibe.
Is releasing a full album a crucial point for you, as opposed to continuing with single tracks?
If so, why do you think the album is still important in a single-download era?
Yes. Looking at my work as a entire body of songs is very essential for my growth as and MC. The album helps people understand the variances that define my poetics. Its the whole beach opposed to the a grain of sand.
Is there going to be a release show???
Yes. June 6th at Oakland Surf Club. From 6-9pm. All ages.
Aside from yourself, who else do you think we should be looking out for in the Bay Area right now? Musically, and otherwise, of course.
Ka’ra Kersey is an amazing songstress. Maya Songbird too; she did a whole mixtape over vintage porn soundtracks! I’m… so funky. Oh, my girl’s Sage Stargate and 2am are killing it on murals this summer in the bay.
- br_dge WS .❍.