Harm City: Those Other Bmore Breaks

Spurred by HBO’s The Wire and the city’s unique strain of club music, Baltimore has become a subject of cultural curiosity lately. Ensuring that the city’s long-overlooked hip-hop scene wasn’t left out of the equation, Juan Donovan Bell and Jamal Roberts of Darkroom Productions recruited the cream of the local rap crop for Hamsterdam, a 2005 release that was equal parts mixtape, local pride booster, and showcase for the duo’s moody production style. Named for the drug strip depicted in The Wire, Hamsterdam surpassed all expectations, landing the previously obscure producers a gig making music for the TV series (and a front-page article in the New York Times Arts section). With Hamsterdam 2: From the Stash to the Strip and its companion DVD, Harm City Exposed, hitting streets in time for ’07, this could be the year Avon Barksdale’s hometown takes over the rap game. Here’s a look at Baltimore’s top MCs, as featured on Hamsterdam 2.

Diablo
Diablo is the series’ breakout star thanks to “Jail Flick,” a Bmore club-paced anthem about sending pictures home from jail (“A topic everyone in the hood can relate to,” notes Bell). Diablo’s turns on Hamsterdam, like “Jumping Like Rope” (in which he cites George W. Bush’s stolen elections as justification for selling dope) and “Beautiful Bitches in Bad Neighborhoods,” are equally energetic. Bell and Roberts are currently meeting with labels interested in signing Diablo and Darkroom Productions to a joint artist/production deal.

Tyree Colion
Incarcerated for murder between the ages of 15 and 26, Tyree Colion was on the streets for less than two years before a parole violation sent him back to prison–but not before dropping two double-disc mixtapes (The Problem and The Solution) and a triple-disc (the 60-track Hustle Hard Blvd.). In that brief period, Colion created a street buzz previously unheard of in Baltimore, Bell says. “It was like 2-Pac, the way he made such an impact so quickly.” Hamsterdam 2‘s “Projects” and “Blocka Blocka,” recorded days before his sentencing, are sure to be Harm City’s next anthems.

Mullyman
Having rhymed alongside Clipse, Freeway, and Memphis Bleek, and on Clinton Sparks and Kay Slay mixtapes, Mullyman was one of a handful of local MCs with a national profile predating Hamsterdam. The Bodymore soldier recently followed up his slept-on 2005 debut LP, Mullymania (Major League Unlimited), with a new street album, Still H.I.M. “Get Ready” (off Hamsterdam 2) and Still H.I.M.‘s “The Life, the Hood, the Streetz” both appear in season four of The Wire.

Ogun
Named for the Yoruba spirit of iron and energy, Ogun is a member of the long running Real on Purpose (ROP) crew. A social worker by day, his contribution to Hamsterdam 2–the succinctly titled “Baltimore”–addresses his hood’s impending gentrification (“They move the blacks to the county on some reconstruction/Say everywhere we go all we bring is destruction“). “When we got the idea to do Hamsterdam, he was the first person I called,” says Bell. “He didn’t know Darkroom but he was feeling the vision–this Baltimore thing is deeper than music for him.”

dublab Sleepover Party!

Saturday, March 3, 2007
dublab and Pehr Present
Tonalism
An All Night Event of Ambient Music

Complimentary tea will be served throughout the night. Bring pillows, blankets, bean bags, sleeping bags, and cushions. Lay down and listen deep.

DJ Sets By
frosty (dublab, Adventure Time)
Jimmy (Dntel, Postal Service, dublab)
Morpho (dublab)
John Mendez (Cytrax, Jasper)
Hoseh (Headspace, Version, dublab)

Live Sets By
Tropic of Cancer (J. Mendez & Camella Lobo)
Languis (6 speaker surround-sound set)
Duane Pitre/Pilotram

Projections By
the Labrat Matinee & the Masses

Pehrspace, 325 Glendale Blvd., L.A.
9p.m. – 6a.m., $5 donation suggested
Broadcasted live on the dubstream

Radioactive Beats

From nuclear jazz to foley-room soundtracks, the next few months will see the nu-jazz, electronic, and downtempo scenes’ biggest artists unleash awesome full-length projects. But first, some singles to whet your appetite: The Stance Brothers is an alias of Finnish drummer Teppo “Teddy Rok” Makynen of Five Corners Quintet. His “Steve McQueen” 7” on Ricki-Tick Records (available domestically through Groove Dis) is as good as live club jazz gets. And on the deep funk tip comes New Zealand’s Open Souls. This nine-piece ensemble gets nasty on four super-raw JBs-style cuts for Mukatsuku Records. Find this one at Goya Distribution.

Now that you’ve cut a rug to some hot singles, cool down with a trio of forthcoming long-players. Well, maybe not too cool, if the radiation escapes from Uwe “Senor Coconut” Schmidt’s and Burnt Friedman’s Flanger project. Their new album, Nuclear Jazz, is set to drop April 3, although “new” is somewhat of a misnomer here. Seems the atomic duo has chosen to edit and re-master two previous albums, Templates (1999) and Midnight Sound (2000), into a tight, 79-minute electro-space-jazz excursion. Seeing as these guys are always about a decade ahead of us, this disc should make for perfect listening now. 

So will two anticipated full-lengths from the U.K.’s Ninja Tune imprint. Foley Room, a movie sound-effect inspired album from Amon Tobin (pictured above), drops May 3, while Ninja labelmate The Cinematic Orchestra’s Ma Fleur epic is unleashed May 7. XLR8R.com has been lucky enough to preview both albums and we’re happy to report they won’t disappoint longtime fans.

Tobin’s sprawling, audio-DVD set is a twilight journey into Bladerunner back-alleys, where android jazz bands drunkenly bleat out a feverish machine-code swing. The title, Foley Room, is a reference to the recording studio where movie sound effects are made, and such creative sound experimentation informs Tobin’s opus.

Less dense but equally enthralling, The Cinematic Orchestra (pictured above) explores organic themes on an uncluttered, ballad-friendly recording. Listen for the album’s first single, “To Build a Home”; six gorgeous minutes of piano-led English folk. So whether you’re looking to put on your shoes and hit the dancefloor, or hit the couch sans leather uppers, the next few months bode well for your ears.

Does Hip-Hop Hate Women?

Rampant gender stereotypes abound in hip-hop (hello Lil’ Kim). Fortunately, there are folks like filmmaker Byron Hurt in the world. Hurt’s recent documentary, Hip-Hop: Beyond Beats and Rhymes, delves beneath the underbelly of the genre to examine its less-than-glamorous aspects, and his involvement in the Rap Sessions 2007 National Hip-Hop Discussiontour sees him doing similar work. This year’s theme: Does hip-hop hate women?

Hurt will lead a traveling panel around the country to discuss the ways in which mainstream hip-hop culture influences relationships between young men and women, and also to encourage women working in the genre to seek a more empowering agenda. “These discussions,” Hurt says, “like the film, are centered on providing young people with a language for challenging the ways visual media impacts our lives.”

He’s joined by hip-hop journalist Joan Morgan, professor and author Mark Anthony Neal, and Vanderbilt University professor Tracy Sharpley, for a multi-city tour that will examine hip-hop’s gender roles and hopefully, as Hurt notes, “get hip-hop’s core audience to think critically about the music we consume and participate in.”

Tour Dates
03/05 Purdue University
03/20 Spelman College
03/28 Buffalo State University
03/29 Spelman College
03/31 University of Rochester
04/03 University of California, Berkley
04/04 San Jose State University
04/12 Vanderbilt University
04/18 Case Western University
04/28 University of Chicago
05/02 University of California, LA

Various Artists Jonny Greenwood is the Controller

Who knew Jonny Greenwood was dread at the controls? Radiohead’s guitarist/multi-instrumentalist selects 17 cuts from the Jamaican canon for a broad overview of the ’70s island sound. Greenwood winks to his outsider status in the notes, grouping his selections not by the authenticity or obscurity of the material but by musical experimentation from the likes of King Tubby, Scientist, and Lee Perry, and culminating in the violence-torn psychedelics of Johnny Clarke’s “A Ruffer Version.” A who’s-who of vocal stars floats high above most of the mixes, including Derrick Harriot and his heartbreaking lilt on “Let Me Down Easy,” a playful Desmond Dekker on “Beautiful and Dangerous,” and Perry’s classic sci-fi patois on “Bionic Rats.” As Trojan turns 40 this year, the label’s choice of Greenwood as selector shows just how entrenched they-and this music-are in both British culture and the world’s musical consciousness. Jonny does them proud.

Cadence Weapon Breaking Kayfabe

Edmonton, Alberta-bred Rollie Pemberton (a.k.a. blog-championed Cadence Weapon) pops verses like it’s the Rock ‘Em Sock ‘Em Robots state championship. Cadence Weapon is the square root of Atmosphere’s highly personalized bitching mixed with Antipop Consortium’s ruff 8-bit glitches multiplied by Pharoahe Monch’s plaids and pinstripes. Hoarse layers are stitched into organic blueprints as Cadence spouts electro-cution across 12 condensed tracks (originally released in 2005 but hermetically sealed against staleness). Cadence Weapon’s overall presentation is as fricative as it is finessed, like bobbing graphite croutons in silica soup.

Various Artists Hi-Grade Ganja Anthems

It’s hard to think of a more ubiquitous topic in reggae than ganja. Now Greensleeves collects 18 joints, old and new, as a spliff-rolling soundtrack. The tracklist spans the eras from roots to dancehall, but offers few surprises: Triston Palma complains about people who continually ask him for Rizlas and lighters; John Holt, Eek-a-Mouse, Barrington Levy, and Carlton Livingston evade Babylon; Bounty Killer claims herb “makes you feel constructive and brave”; and Wayne Wonder & Don Yute take a stoned joyride. Nevertheless, it’s a rich harvest of cultural reggae tunes even non-smokers will find irie.

XLR8R’s SXSW Artist Preview: The Presets

Australian indie dance inducers Julian Hamilton and Kimberley Moyes (a.k.a. The Presets) caused a stir on the net more than a year before they had proper releases on the market, but when their full-length, Beams, dropped on Modular in 2006, the duo made sure listeners got more than those few leaked tracks. Notable gems from the record include the synthy stomp of “Are You the One” and the smooth staccato blipping “The Girl and the Sea.” A perfect fit for their young label, Hamilton and Moyes are dancing through various Grammy nominations and appearances around the world, and working on another album as we speak.

The Presets will be playing the following shows at this year’s SXSW:

Thursday, March 15
Beauty Bar, 617 E 7th Street, Austin
Additional Music By Shit Disco, Matt & Kim, Foreign Islands, and more.

Read more about The Presets

Read a review of Beams

Watch a video for “Are You The One?”

Cameron Octigan
Photos by Morgan Howland

Also:
XLR8R’s SXSW Artist Preview: Daedelus

Pon Di Wire: February Reggae Newsflash #2

Berkeley-based web portal Jah Works has published an insightful overview of race relations within reggae, sparked by debate in Jamaica over Bob Marley’s song “One Love.” University of West Indies-Mona lecturer Gregory Stephens masterfully dissects the arguments used to either diss Marley’s multiracial background or artificially enhance the singer’s legacy. With scholarly analysis of reggae culture a scarce commodity, this article reads as sweetly as chilled mango juice on a 110 degree day.

After 20 years, don’t count on floating in the Eel River to irie sounds. California’s Reggae on the River is in danger of drying up due to a prolonged breach of contract filed in court. 

Bermuda’s Collie Buddz “Tomorrow’s Another Day” is the top-selling 7” single at online retailer Ernie B’s Reggae Distribution. Other recent singles flying off the shelves include the booty-bass driven Capleton single “Looking Right” on Don Corleon, and the Stevie Wonder-on-crack Quick Draw riddim featuring Elephant Man’s “Arm Nuh Green” (Renaissance).

Jamaican-born German reggae artist Roughhouse is being quickly embraced for his catchy, melody-rich compositions. It seems ‘House isn’t afraid to get unconventional with crossover tracks such as “Da Truth” that sound more like Bad Brains than Dennis Brown. Hear more at his MySpace page.

Remember this name: Queen Ifrica. Not only is the raspy-voiced Jamaican DJ racking up underground hits for producers and labels like Rocky Gibbs, Loyal Soldiers, and Prince B ’s Hi-Score Music, she recently lectured at the University of West Indies about her life and career. Queen Ifrica has the voice, charisma, and style of a superstar artist, so don’t be surprised if you soon see her royalness on stage at a reggae concert near you.

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