Jun 152009
 

Fredagen den 26e juni slår vi upp portarna för en ny drum n’ bass klubb här i malmö. Stället är Bodoni precis bredvid KB på bergsgatan. Om den här kvällen går bra kommer vi fortsätta att köra en kväll i månaden för att erbjuda malmös dnb törstande skara ett vattenhål att gå till.

Först ut har vi tagit hit vår gode vän Phono som står bakom Leet recordings. Som alltid utlovar han ett set med en massa nya grymma dubs blandat med klassisk dnb. Warm upen står Southern connections troopers Haywire och Camonition för.

Kom dit och supporta!

26e juni
23.00-03.00
Bodoni, Bergsgatan 20
60kr
18år

www.southernconnection.se
http://www.facebook.com/event.php?eid=115208106202

Efterlängtat. Malmö är törstigt!

Jun 142009
 

While I was there in Metz we saw the French premiere of STAR WARS and I was amazed at the theological implications of what, in the film, is called “the force”. Have you seen the film? I then bought the novel. Beyond doubt there is a profound theological theme to it, and the audience is reacting to it. Also (and I tell you this witha certain hesitation) the description of “the force” in STAR WARS for unaccountable reasons resembles the entity or force which took me over during my religious experiences in March of 1974. That which I saw then, which I call VALIS or Zebra was a plasmatic energy. Read this quotation from the novel STAR WARS (p. 120):

“Remember, the force is omnipresent. It envelops you as it radiates from you. A Jedi warrior can actually feel the force as a physical thing.”

“It is an energy field, then?” Luke inquired.
“It is an energy field and something more,” Kenobi went on, almost mystically. “An aura that at once controls and obeys. It is a nothingness that can accomplish miracles. No one, not even the Jedi scientists, were able to truly define the force. Possibly no one ever will.”

Now page 121:
“I’ve seen a lot of strange things. Too many to believe there couldn’t be something like this ‘force.’ Too many to think that there could be some such controlling one’s actions. I determine my destiny – not some half-mystical energy field.”

Page 81:
“Let us say simply that the force is something a Jedi must deal with. While it has never been properly explained, scientists have theorized it is an energy field generated by living things. Early man suspected its existence, yet remained in ignorance of its potential for millennia. Only certain individuals could recognize the force for what it was. They were mercilessly labeled: charlatans, fakers, mystics – and worse. Even fewer could make use of it. As it was usually beyond their primitive controls, it frequently was too powerful for them. They were misunderstood by their fellows – and worse.”

Eugene, this is as good a description of what I experienced taking me over and guiding me; actually controlling me, in March of 1974 as I myself could write. Also, the character Luke hears the voice of the dead Jedi knight Kenobi, just as, when the plasmatic field which I call VALIS took me over I, too, heard a voice – that of my dead and resurrected leader, Jesus Christ. Whether George Lucas knows it or not, he in his film and novel is making the mystery of our religion real to literally millions of people, by using new names, new descriptions. I have no idea how conscious Lucas is, how deliberately he acted … or whether he was acted upon by God in his writing, as I think we all are to some degree.
Well, I am very tired from my trip and must sign off. Please write again soon, and forgive me for having mislaid your recent letter.

With warm regards,
Phil Dick

P. S. To clarify – I have no doubt that it was the Holy Spirit, the Third Member of the Trinity, which took me over in a theolepsy in March of 1974, but in my notes and novel VALIS I am striving for new formulations, new and fresh ways of expressing what I believe to be the eternal truths, just as I did in MAZE OF DEATH and other earlier novels. As St. Augustine said, there is no end to the wonderful mystery of the Trinity; one can contemplate it for all eternity and yet not know it completely. I do think George Lucas has done something of sensational importance and value for man in STAR WARS: I honestly believe that the Word and Hand of God guided and informed him, whether Lucas is aware of it or not. What I myself have done is a mere tittle in comparison to what Lucas has done – and my audience is a tittle compared to the audience he is reaching, for which I also thank our God, and I realize that our God knows how to reach into the mass of mankind, that mass of mankind being secular now and drawn away from religion. Did I not show this in my own novel UBIK, where the intermediary personality of Glenn Runciter, who stands between man and God, promotes the Word Itself of Ubik to appear in the garbage and rubble and trash of TV commercials, and in vulgar ads in general? I foresaw – and saw – that the Word would come to us not so much down from above, now, in these secular days, but up, so to speak, from the gutter. STAR WARS confirms me. I am sure of this. God speaks to us from popular novels and films; here is a supreme example. Names and creeds and doctrines and dogmas and formulations are not important; what is important is the living Word. And it is that which Lucas depicts and describes in “the force,” as he calls it. And people everywhere are responding.

(p. 101-103, The Selected Letters of Philip K. Dick vol. 5)


Jun 122009
 

Watching Flow TV’s special on Big Pun got me listening to his classics again.

Big Pun was mad charismatic, made better battle raps than anybody, managed to pull of some OK club songs, penned introspective and relationship songs without making a fool of himself, narrated great storytelling tracks, and even dropped powerful political comments. And he was the illest lyrcially, ever. He seperated himself from other technical monsters, such as Canibus, by always keeping the multisyllable madness, the scientific, hyper futuristic lingo deep within the pain and struggles of his everyday life. It is there for a reason, not for just for showing off.

Let us look at often quoted rhyme from his first album. Being in need of money, Fat Joe and Big Pun have agreed to do a quick job for the mob. Everything seemed to go be going well, but soon they will discover something about the people they left “dead in the middle of Little Italy”:

“Little did we know we riddled two middle men who didn’t know diddily”.

With that language-stretching syllable-fest he establishes the scene, introduces two minor characters, tells us what happened to them, and what went wrong. I’m not saying he was the greatest ever. But had he been able to carry his weight and record a catalouge as deep as those of Scarface, Cormega, Ice-T, KRS-ONE, Tupac Shakur, Kool G Rap or Rakim, he might have been just that.

At times Big Pun preferred to spit that undilluted street venom so very few artists are capable of producing these days. Besides being the most technical, he was also one of the most hardcore rappers ever. Proof below; Pun at his rawest, ugliest, at his most obnoxious and ignorant.

Fat Joe, Big Pun & Eightball – Heavy Weights

Jun 122009
 

I watched Alex Jones’ The Obama Deception yesterday (well, most of it anyway).

While it surely is wise to pay special attention to what kind of people the new president puts in his government (as we saw in the documentary mostly bank people, members of the Bilderbergs and The Trilateral Commision, leftovers from the Bush administration, even Henry Kissinger (of all people) as an advisor), Jones’ extreme emphasis on certain people and secret organizations does the whole thing a disservice. Conspiracy theory does not make you feel like the world is in our hands (which it really is), but in the hands of a few very powerful men. His dada-like gusto and ability to dig up interesting factoids should be acknowledged, but his analytical tools need to be sharpened.

What I gained from watching this was mainly a deeper respect for KRS-ONE (who stops by to give his two cents on the new administration). He is one of the few rappers who has had the balls and the intelligence to critize the first black president. His message: “Don’t get caught up in the emotionalism of Obama!

Kris is still completely on top of his game, spiritually profound and verbally razor-sharp, having stayed relevant for more than 20 years, releasing more than 20 albums (Pick It Up form the youtube-clip sounds pretty dope, Maximum Strenght needs to be looked into), and succeeding with seemingly impossible tasks, such as incorporating dancehall and vegetarianism into the boom and the bap and still keeping it one hundred percent hardcore. Twenty-two years after Criminal Minded, he still smacks you over the head verbally. If it is one artist I would like to see live, it would be the Blastmaster.

Now what Alex Jones really should do is record an album with the God, supplying the anti-governmental motivation speeches and creepy electronics backdrops that we are used to from his movies to The Teacher’s most politically explicit verses.

KRS-ONE f. Truck Turner – Bring It To The Cypher (prod. by DJ Premier)

Saul Williams f. KRS-ONE – Ocean Within

KRS-ONE – You Thug (prod. by Marley Marl)

KRS-ONE – Sound Of Da Police (Showbiz Remix)



“go and tell ya momma i took a bite outta ya bum…

Jun 092009
 

Traveling at the Speed of Thought: an incredibly well written article about old school maestro Paul C, the man who taught Large Professor everything he needed to become the producer he is today, and he also supplied the musical brainpower needed to make Critical Beatdown a classic. Why is Give The Drummer Some one of the funkiest tracks ever? Because of Paul C.

Together with other genius innovators such as Kurtis Mantronik and The 45 King, he is a half-forgotten (extra obscure perhaps “because he preferred to work without contracts”, and so mostly “did not receive credit for his production”) master architect of this rap music thing. These people were the Premiers and Pete Rocks of their generation.

“Paul C panned the record, then he just flipped out on the programming. It was crazy.” Extra P says, “It was crazy” three more times and grimaces like it’s so good, it’s McNasty.

Jun 032009
 

Hard techno is for dancing rather than for listening alone. But some unmerciful tracks of that late industrial funk music do have that repetitive, meditative quality that makes them work just as well in your headphones as on the dance floor. They win in both situations because, as I see it, the track itself emulates the slow and subtle shifts of the uncompromising techno DJ.

Ben Sims – Jenkins Lane

Monotonous music opens your head. This concept goes back to Erik Satie.

“Vexations is a noted musical work by Erik Satie. It consists of a short chordal passage and a bass line which is repeated twice in each repetition of the piece. Satie recommends on the score that ‘To play this motif 840 times in succession, it would be advisable to prepare oneself beforehand, in the deepest silence, by serious immobilities.’ While the 840 repetitions aren’t obligatory, many artists have followed the enigmatic suggestion and played the piece with many repetitions.”

“The work was first played in public the requisite 840 times, by a team of pianists: John Cage, David Tudor, Christian Wolff, Philip Corner, Viola Farber, Robert Wood, MacRae Cook, John Cale, David Del Tredici, James Tenney, Howard Klein (the New York Times reviewer, who coincidentally was asked to play in the course of the event) and Joshua Rifkin, with two reserves, on September 9, 1963, from 6 p.m. to 12:40 p.m. the following day.”

If you loop something it changes. The sounds grow. Repetition is difference. “You can’t step into the same river twice“, as Heraclitus put it, to which Chuck D responded, “You Can’t Stop The Bum Rush“. What a brother know?

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