Surely that will never catch on…
Surely that will never catch on…
If the Wicker Man was set in the post-Brexit dystopia of Preston, Lancashire…
…it might look and sound quite a lot like Evil Blizzard. All of the music is a distorted bass guitar; grotesque masks thwart face-identification algorithms; the only emotion is seething mistrust.
Hip-hop hasn’t always hated Trump. In the 1990s and 2000s, Trump was a tongue-in-cheek rap byword for bling. Raekwon, Jay-Z, Fabolous, Young Thug, Young Jeezy and more have all variously boasted of being hip-hop’s Donald Trump.
But now Trump isn’t just the uber-capitalist self-parody-turned-reality TV star. He’s fucking the world up, and despite lots of wishful thinking from op ed pieces about how the artistic kick-back against such a tyranny will make ‘music interesting again’, are Green Day and Le Tigre really the best we can do?
Well, no, because America’s first music is hip-hop – a music made all of words – and it’s a poetry that is tearing chunks out of the new dystopia.
We’ve made a mixtape of the most ferocious anti-Trump flows. Title is a reappropriation of an album (A Lethal Dose of American Hatred) by known white supremacist, Phil Anselmo.
Trump/They Live by Nick Casale
Dissonance, spirals, flurries, repeating figures, sacral.
No dramatic contrast, no large fluctuations.
Art is Jackson Pollock, White Light, 1954
If techno represented the logical conclusion of Cybotron’s electro, then Miami bass was surely the next evolution of Planet Rock. Retaining the Kraftwerk and P-funk influences, but keeping the vibes distinctly party-based, funky and served up with whooping and hollering from bass-riding male and female MCs.
Miami bass was musically heavy but often veered towards the thematically ridiculous. Not one but two of the early miami bass classics were based around the children’s song Old McDonald Had A Farm, for instance.
Vocoders were everywhere. A lot of modern academic writing on dance music posits the use of vocoders in electro as a sort of intentional technological neutralisation of racial identity. People forget. Being a robot was VERY COOL in the 1980s. Kids of the 80s loved dressing up in bacofoil-cardboad Transformers costumes and TALK-ING LI-KE A RO-BOT.
Their older siblings making Miami bass bangers weren’t doing anything different, just with much more expensive toys.
On Monday morning he ate through democracy, but he was still hungry for power.
On Tuesday he objectified and degraded women, but he was still hungry for power.
On Wednesday he decided people of a different skin color were inferior to him, but he was still hungry for power.
On Thursday he decided people with a different sexual orientation to him were unacceptable, but he was still hungry for power.
On Friday he built a death star and pointed it at everyone who he disagreed with.
This isn’t the first mix that Pye Corner Audio’s The Head Technician has fabricated for 20JFG – to experience that, you need to travel back in time to this post – but seeing as he has helmed two awesome albums that have been released in the past 9 months, it was certainly worth inviting the enigmatic engineer back for another spin.
The first of these albums was Pye Corner Audio’s Prowler LP, released at the end of last year.
And more recently, Ecstatic Recordings have supplied listeners with Zones, a revamped solo set from The Head Technician.
And here’s that mix…
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