Two Lone Swordsmen Wrong Meeting II

Andy Weatherall has harbored an eccentric obsession with rockabilly for years now–it showed up in spades on Two Lone Swordsmen’s From the Double Gone Chapel. But on Wrong Meeting II, Weatherall and fellow Swordsman Keith Tenniswood (a.k.a. Radioactive Man) make their gothic electro-billy sound work better than ever. On tracks such as “Blue Flame,” TLS slide their legs over the saddle of an 808, crunching their guitar sounds and spitting venom through a bullet mic. Even when not overtly playing the black-leather card, Wrong Meeting II is seedy and whiskey-soaked, wallowing in a new kind of cyberpunk biker rock. This is sticky, nasty, man-in-black rock music for the tech-heavy dystopia set: Wallow and rejoice.

What Is It? Nerdcore

Not so long ago, hackers listened to Skinny Puppy and could barely get a date through the S&M BBS. But these days, a dude like YT Cracker is just as likely to be famous for his lyrical prowess as he is for digitally invading NASA’s data systems.

Hacker-turned-rapper YT (born Bryce Case) is not bummed about being called a nerd–actually, he revels in it, like nearly all his contemporaries in the niche genre known as nerdcore. A subset of hip-hop created almost entirely by white, middle-class rappers, nerdcore’s chief attribute is that it celebrates geek culture, exploring topics once reserved for solely for listservs, ComicCon, and dorm rooms. And the seemingly endless minutiae of geekdom–from obscure Star Wars characters to anime, computer coding slang to the Dungeons & Dragons rulebook–makes for good rhymes in Instant Messenger rap battles.

Combining pocket-protector culture with hip-hop may be a first, but being overtly nerdy in music isn’t a new concept–“Weird Al” Yankovic, They Might Be Giants, and white alterna-rap personalities like Brown alum MC Paul Barman and the stealing-obsessed Thirstin Howell III (sort of) did it first. But unlike other left-of-center rappers, nerdcore MCs don’t seem to have any trouble getting press. The genre has been written about in Wired and the New York Times, broadcast on CNET and CNN; it has as two documentaries devoted to it (Nerdcore For Life and Nerdcore Rising), not to mention various podcasts, record labels, an online magazine (Nerdy Mag), a social networking site (Nerdcore Por Vida), and even a clothing line.

It would be easy to write this all off as a joke, but while the rhymes aren’t serious, the MCs themselves are, at least about developing their own style and persona. MC Frontalot, who defined the subculture with 2000’s “Nerdcore Hip-Hop,” crams tons of words into raps about goth girls and text-adventure games; his look is strictly ’70s math teacher while his quirky cadences are reminiscent of Kool Keith or late-’90s Anticon MCs. Seattle’s Optimus Rhyme combines the Transformers-referencing rhymes of MCs Wheelie Cyberman and Broken English with a jam-band-esque backdrop, while renegade frat-boy MC Lars takes philosophy and pop culture to task like an overeager freshman. Self-proclaimed “first lady of nerdcore” MC Router, her voice like a 12-year-old boy, raps about Halo 2 over clever 8-bit beats from producer T-Byte. And one must not forget the cough-syrup-celebrating, potty-mouthed MC Chris, known for rhyming in the same high-pitched tone he uses to voice characters on Cartoon Network’s Adult Swim.

Though it will never have the selling power of 50 Cent (most of the tracks are downloaded for free via artists’ websites and P2P networks), nerdcore is at least allowing a handful of programmers to legitimately live out their music fantasies–sex, drugs, and rock & roll probably not included.

Nerd Herd
Inside the nerdcore rap phenomenon with Negin Farsad, director of theNerdcore Risingdocumentary.

What led you to make a nerdcore documentary?

Negin Farsad: Actually, it was one of those funny coincidences. I had written a musical called The Israeli-Palestinian Conflict: A Romantic Comedy. The show’s music and some lyrics were written by Gaby Alter–MC Frontalot’s keyboardist and collaborator. (Indeed, Gaby’s study and love of musical theatre proves that nerdcore’s dorkisms are wide and diverse…) We were in the middle of rehearsals one day when Gaby asked if we could take a break and listen to Front, who was being interviewed on an NPR show. I was intrigued and after listening to the interview I said, “Someone should make a documentary about this guy.” I didn’t really mean myself, at the time I wasn’t really into film/TV. But the nerdcore discovery was too good to pass up. I was shocked that this guy had fans–even fans in other countries! When I finally saw one of his shows, I knew I had a film on my hands because Frontalot was good–like real good–and his fans were a bunch of endearing and proud nerds. The combination felt “cinematic.”

Are you a fan of nerdcore? If so, what is its appeal for you?

From the outset the appeal was more about the sociological phenomenon behind nerdcore rather than the music. I thought it was fascinating and nuts that nerdcore artists unabashedly embraced the same things that made them suffer through high school and I couldn’t believe that scores, nay thousands, of folks all over the country heeded the lyrics and heralded the nerdcore message. That was enough to get me interested. But, going on tour with MC Frontalot is what made me a true Front fan. The fact of the matter is that he puts on a great live show. (MC Chris, MC Lars, and a bunch of others also put on really great live shows.) A lot of nerdcore songs–not all of them–are just catchy and enjoyable. At the end of the day, the appeal is in the music: if the songs aren’t any good, there really wouldn’t be much of a point to the whole thing. Right?

What was the funniest moment you had making the film?

Funniest moment? Where to begin?!! A lock-picking seminar at a hacker convention? The unironic use of Segues as a mode of transportation? A deadly serious argument about whether They Might Be Giants should be considered nerdcore? An inspired but wildly boring explanation of the code Front runs on his website? There are too many options! I think you’ll just have to see the movie to get the highlights!

Did making the documentary clear up any misconceptions you had or did you discover anything different about the genre?
Interesting question… One thing we realized talking to enthusiastic nerds around the country is that there was a huge whole in their hearts that needed to be filled with phat beats and clever lyrics that have nothing to do with gangsta rap. I used to be pretty satisfied with my bullet-laden hip hop but once I got on the nerdcore bandwagon it seemed ridiculous to limit myself to the mainstream offerings. Making the documentary really proved that the nerdcore genre is literally fulfilling a need among these fans for music they can relate to and (nerdily) dance to. If you’re tired of listening to mainstream hip-hop, or if you’re looking for some hip hop variation, then nerdcore is a legitimate outlet.

Was MC Front-a-lot pretty much always in character when you were filming him? I guess I’m wondering how close his on-stage persona is to who he is offstage…

MC Frontalot is pretty much MC Frontalot all the time. He doesn’t normally wear a dress shirt, tie and head lamp when he’s offstage but still, he’s pretty nerdy. He loves comic books – like LURVES comic books. And, he plays an inordinate amount of video games. Basically, he’s well-versed in the world of dorky interests. However, I’ll let you in on a little tour secret: unlike the stereotypical nerd, ladies around the country really like Frontalot. As in, they want to make-out with him. I dare say he had not a few worshipping girl fans on tour but like a true nerd, he was ever the respectful and bashful gentleman. Because, let’s be honest, girls make him nervous.

Loading: Streetfighter 4, More Halo 3 News

Street Fighter 4 Announced
In 1991, Street Fighter II was released on an unsuspecting public that would forever be changed by shouts of “Hadouken!” and “Yoga Flame!”

While Street Fighter III was released five years later, over a decade ago, it didn’t have the impact of SFII, and the series languished somewhat ever since, with the various characters appearing here and there in a variety of games ranging from puzzle games to other “mash-up” fighting games. It seemed that Capcom’s plans to reinvigorate Street Fighter were non-existent.

This week in London, however, it was revealed that Capcom was indeed hard at work at Street Fighter IV, when the company unveiled a super-sexy, highly-stylized trailer for the game. Looking a bit like Capcom’s own Okami, the trailer plays out like a moving painting, with Ken and Ryu kicking the shit out of each other.

If the game looks anything like the trailer–and we tend to believe that it will–we are in for something that will certainly look amazing. Whether or not the game will be 2D or 3D is up in the air, as is a release date.

Want To Be on the Halo 3 Soundtrack?
Microsoft did everything possible to emblazon Halo 3 onto your brain before the game’s release, and it appears the company isn’t letting up (even though the game has sold a bajillion copies), as plans to give fans the Halo 3 Original Soundtrack were unveiled this week.

Set for release in time for Thanksgiving, not only will the orchestrated soundtrack feature the game’s original tunes by award winning composer Marty O’Donnell and Michael Salvatori, but Microsoft is also sponsoring a contest to find an artist or band to be included on the double disc collection.

Submissions are being accepted on the Halo 3 MySpace page until 12 p.m. PST on October 22.

Judging will be done by album producers Nile Rodgers, Michael Ostin, composers O’Donnell and Steve Vai (!), as well as by crappy bands The Used and Red Jumpsuit Apparatus. Meh.

The winners will get their songs on the soundtrack and will also receive a bunch of Halo 3 branded gadgets and an Ibanez Xiphos guitar. Second and third place winners will also get the schwag.

Mike Patton To Be Bionic Commando
Capcom is on quite a roll this week, as it also announced that a true classic from 1988, Bionic Commando for the NES, will be receiving a long-overdue update.

The series originally revolved around a super soldier who could not jump, and instead used a bionic, extendable claw to reach greater heights while battling what amounted to thinly veiled Nazis.

The new Bionic Commando finds you instead playing a war criminal who is set free along with your bionic arm, as you are the only one who can infiltrate a new evil army’s inner sanctuary.

While shots of the game certainly look great, the best news so far is that Mike Patton (Faith No More, Mr. Bungle, Tomahawk, Handsome Boy Modeling School, etc. etc.) will be playing the voice of the games protagonist, Nathan Spencer aka the Bionic Commando.

This shit is going to be wild.

Bass Reaction!: Benga, Skull Disco, Steps In Time

Croydon-based dubstep superstar Benga’s debut album, on Tempa, has been delayed. The hype over recent singles “Night” (co-produced by Digital Mystikz’ Coki) and advance tracks played on Rinse FM has fueled demand for Benga’s DJ sets and forthcoiming release. We should see Diary of an Afro Warrior hit the shelves in the UK and Europe in November, followed by a U.S. release in 2008. Look out WMC!

Speaking of top grime, house, and dubstep pirate radio station Rinse, their new website has launched, and now features lots of links and special offers. The station is now partnered with UK youth TV series Dubplate Drama, which features grime emcees and pirate stations as central figures in its tales of urban UK life.

Benga and Hatcha’s recent S.F. appearance at TempleSF garnered a huge response. Emcee Child and DJ Collage brought heat on the mic. Video clips of the event are slowly appearing; another memorable night of dubstep in tha Sucka Free. Next up for SF: Vex’d at Juju’s NarcoHz night (Oct. 26), and Dallas don Jason Mundo at Club Six’s Surya Dub (Oct. 27).

Rough Trade will release Skull Disco’s Soundboy Punishments, digitally and as a 2-CD set, on October 23. London-based Skull Disco is owned by Shackleton–known for middle-Eastern influenced beats and dubwise sensibilities–and Appleblim who trades in brutal riffage and a broad range of styles.

The sunshine state Florida has a dedicated dubstep web portal. Taking design cues from Dubstepforum, visitors can browse the latest FLA releases, clubs, and discussions at this spot–including Winter Music Conference (March 25 – 29, 2008) updates!

Speaking of Dubstepforum: vote in the “Dubstep Grammy’s”–the Forum’s yearly user generated awards. Nominations for categories like DJ of the Year, Newcomer of the Year, and Best 12” end October 27.

On the mixes tip, definitely have a listen to SamSupa’s “Falling Into Dubstep”, which features a wicked, unreleased track (“Stone”) by Reform.

Bass Reaction is feeling the Steps In Time Recordings‘ new tracks. Its latest is Matty G’s (Argon) “Silver And Gold” EP–a booming, reggae dub-influenced single. Props to UK-based Forensics‘ latest single “Endgame.” He mixes more on the dark side of the spectrum, but keeps it bassy. Also of note, Martin Blackdown Clark’s Keysound label’s newest, Dusk + Blackdown feat. Trim “The Bits”–out now. Blackdown’s South and Eastern Asian-influenced samples and clicky, Burial-like programming make Clark’s releases stand out.

In Bristol, it’s all about H.E.N.C.H! That’s where you’ll find lads like Jakes, and Reduction Records who’ll release Bristol-HENCH-man Wedge and Gatekeeper (Punch Drunk) on Reduction’s first single “Overfiend” b/w “Overfiend (Gatekeeper remix).” In December, they drop Elemental’s “925.” Big tings!

Hotflush gives us Boxcutter’s new single this month: “Philly” backed with “Endothermic.” Boxcutter makes weighty, Vex’d-style productions with equally melodic, electro-tinged elements. “Philly” is also featured on Hotflush’s Space and Time comp (out now). Hotflush release Nyabingi’s “Bionicle” and the new Scuba 12”, “Outmost,” in December. Also check the man DZ, whose “Slums Dub” is out now on Scuba, with “Chalice Dub/That Bongo Dub” forthcoming LoDubs.

Gear Alert: Ableton Live 7

A growing number of producers swear by Ableton Live, and more will likely follow suit with the seventh edition of the software, which comes with a bounty of new features. From an enhanced audio engine to new EQs and better memory management, these additions to Live’s already limitless possibilities will shake up any bedroom or club alike. Here is a brief glimpse into what to expect.

Enhanced Audio Engine
Now with 64-bit summing throughout the program, the software allows for better fidelity before the mixing and mastering process, making writing and final mixing a pleasant experience.

Enhanced Memory Management
Perhaps the most important aspect of Ableton’s update, the internal SmartPriming feature allows users to instantly pull from a number of instrument libraries without delays, processing glitches, or inconvenient processor freezing. In effect, if producers pull a MIDI instrument from within Live’s interface, they will no longer have to worry about CPU issues, as the program instantly recognizes resources in real time and reallocates the samples where they are needed.

Drum Rack
Ableton isn’t best known for its outstanding preset drum sounds, but with the introduction of its new Drum Rack device, users will be able to utilize a convenient drag-and-drop interface to sample or create a plethora of drum sounds and sequences from any number of files–including WAV, AIF, and REX.

New EQs, Compressors, and Hi-Quality Modes
Live has finally updated its EQ8 function with a brand-new, thoroughly detailed interface for extreme precision. It also features an advanced 64-bit mode. Aside from the software’s already powerful I and II Compressors, it also includes a new feedback-based model, reminiscent of vintage compressors. The Operator, Saturator, and Dynamic Tube functions now have a “Hi-Quality” mode, which relieves the digital scratching of the effects’ past.

Automation Advances, Time Signature Changes, and Spectrum
In Live’s Pro Tools-esque Arrangement view, each track now contains multiple automation lanes that allow users to edit volumes, effects, and sends in separate fields, rather than having to use the (somewhat confusing) pull-down menus. Both the Arrangement and Session views now also come equipped with the ability to support time-signature changes, which can be automated both during and after the recording process. And what good would Live be without a cool Spectrum device that provides visual feedback of any audio waveform playing in real time?

Ableton Live 7.0 is available in late 2007.

Podcast: French Hip-Hop

While there’s still a handful of Americans that may snicker at the idea of French rap, the very same haters may not have heard Paris-born, Lausanne, Switzerland-based ThomasYo La La! podcast, which features MCs and producers from the world’s second biggest global hip-hop market. The monthly mixes include talent from all facets of the French game–from rap de rue (street rap) to alternative rap (electro-infused hip-hop) to commercial rap, both vinatge and brand new. For this exclusive XLR8R Podcast DJ Mix, Thomas gives us a taste of France with tracks from Princess Anies, Lunatic, Sniper, Supreme NTM, and more.

To read up on Thomas’ podcasts, check out the French Hip-Hop feature in XLR8R‘s Paris City issue.For translations and explanations about these tracks, get to Yo La La!

Download this podcast using iTunes, or with an RSS reader of your choice.

Tracklisting
1. IAM “Tam-Tam de l’Afrique” (Delabel)
2. La Cliqua “Requiem” (Delabel)
3. Lunatic “Le Crime Paie” (Hostile)
4. Idéal J “Hardcore” (Naive)
5. Kalash “Tant qu’elle Résonne (Musique Engaée)” (Musicast)
6. Assassin “Touche d’espoir” (Livin Astro)
7. Sniper Feat. Leila Rami “Entre Deux” (East West)
8. Supreme NTM “Qu’est ce qu’on Attend” (Epic)
9. Seth Gueko & Sefyu Molotov “Patate de Forain” (Neochrome)
10. Princess Anies “Trop Despee” (Tilt)
11. Booba “Boulbi” (Barclay)
12. La Rumeur “Paris nous nourrit, Paris nous Affame” (EMI)
13. L’Atelier “Le Hip-Hop c’est mon Pote” (Institubes)
14. DSL & Svinkels “Prohibition” (Chronowax)
15. Saian Supa Crew “Marche á l’ombre (EMI)
16. Le Puzzle “Fais le toi MÍme” (Piece de Collec)
17. La Caution “The a la Menthe” (Kerozen)

Spin The Globe: A Dance Music Round-Up

Starting October 16, and continuing weekly, San Francisco’s Six Degrees imprint is offering a “download” of the week from its Emerging Artist roster. Every Tuesday, for nine consecutive weeks, listeners will be able to download a free MP3 via the Six Degrees website. Expect new music from Alien Chatter, Bhangra-hip-hopper David Starfire, Brazilian sensation Da Cruz (pictured above), Persian broken beat artists ZAMAN 8 & Hafez Modir, and the lush sounds of Rara Avis.

Looking for the best global and world music videos? Check Link TV, a non-commercial network dedicated to presenting documentaries from around the world, global news, foreign films, and world music from 97 countries. Recent Link music videos include UK/Indian artist Susheela Raman and Spanish hip-hop/flamenco outfit Ojos de Brujo

Get the jump on 2008’s most talked about Afro-dance singer, Saba. Her new video, for the track “Hoio,” features this beautiful Somali-born Italian globetrotter. On her forthcoming album, Jidka (The Line), Saba explores the divide between Somalia and Italy with a rare sensitivity, mixing acoustic guitars and koras with traditional African beats and contemporary percussion. 

American hip-hop soul artists Daru & Reggie B are the newest signings to Belgium’s 4lux White, a sublabel of 4lux, run by the respected electronic artist Gerd. Daru (pictured above) is a Michigan-based hip-hop producer and drummer for Slum Village and Dwele. Reggie B. is a singer/songwriter from California who has collaborated with Saadiq and Wajeed of the Platinum Pied Pipers and rolls with the Innatesounds Crew (Joc Max & J.Rawls of Basement Khemist, plus Midwest beatmaker Miles Bonny). The duo’s Future Music arrives January 2008! 

Don’t miss one of this year’s most original and intoxicating South American reissues: The Roots of Chicha: Psychedelic Cumbias From Peru. Don’t front on this one, even if you’ve never heard a Cumbia, or think Peru is all about altitude sickness and pan-pipes. This is one bad-ass collection of grinding organs and funky beats. You can see J-Rocc or Biz Markie working this into one of their sets. Straight originality! Thank the folks at Brooklyn’s Barbes Records for tracking these selections down from street stalls in Lima. 

Léonard De Léonard “Screaming Dance”

Not unlike other Ekler’o’shock artists like Danger and datA, Paris-based Léonard De Léonard serves up a special variety of haunted French-touch killers. Featuring tightly woven glitches and plenty of hollering, “Screaming Dance” will have floors in more disarray than a Negative Approach runion.

Leonard De Leonard – Screaming Dance

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