And, haha, Daddino otm.
― Barima (Barima), Thursday, 15 April 2004 14:42 (twenty years ago) link
― J0hn Darn1elle (J0hn Darn1elle), Thursday, 15 April 2004 14:46 (twenty years ago) link
― scg, Thursday, 15 April 2004 14:50 (twenty years ago) link
― Dave Stelfox (Dave Stelfox), Thursday, 15 April 2004 14:51 (twenty years ago) link
― scg, Thursday, 15 April 2004 14:53 (twenty years ago) link
― Dave Stelfox (Dave Stelfox), Thursday, 15 April 2004 14:55 (twenty years ago) link
― Dave Stelfox (Dave Stelfox), Thursday, 15 April 2004 14:56 (twenty years ago) link
― pete badmusik (pete badmusik), Thursday, 15 April 2004 15:02 (twenty years ago) link
― pete badmusik (pete badmusik), Thursday, 15 April 2004 15:04 (twenty years ago) link
― Dave Stelfox (Dave Stelfox), Thursday, 15 April 2004 15:09 (twenty years ago) link
It's safe to assume that if an artist consents to have his stuff released in a commercial format, he agrees with the idea of selling albums. The artist doesn't release an album for "the suckers" (i.e. everybody who isn't YOU) and then smile contentedly as you download away, secure in the knowledge that his TRUE fans appreciate that ART MUST BE FREE etc. If \Rupture didn't wanna sell records, he wouldn't release them. If you've enjoyed his work, then ethically you oughta compensate him in some way. And not by giving him a rubber check like that guy in St. Augustine who thanked me for all the music he'd copped for free and busted out some tired line about how corrupt record companies are as he scribbled "50 and 00/100" onto a check that wasn't worth the paper it was printed on.
Really there is so much hypocrisy in the "music wants to be free!" camp that some fairly interested arguments get tarred by association.
― J0hn Darn1elle (J0hn Darn1elle), Thursday, 15 April 2004 15:50 (twenty years ago) link
haha "interesting" ones, too
― J0hn Darn1elle (J0hn Darn1elle), Thursday, 15 April 2004 15:51 (twenty years ago) link
― Dave Stelfox (Dave Stelfox), Thursday, 15 April 2004 15:55 (twenty years ago) link
― jack cole (jackcole), Thursday, 15 April 2004 16:03 (twenty years ago) link
― @d@ml (nordicskilla), Thursday, 15 April 2004 16:04 (twenty years ago) link
― Alex in SF (Alex in SF), Thursday, 15 April 2004 17:25 (twenty years ago) link
also the DJ /rupture radio mix ("Pirate Style" it says on the cd) is probably my favorite of his, it's closer to a real mashup / improvisation than his others thus far.
― ryan kuo (ryan kuo), Thursday, 15 April 2004 17:40 (twenty years ago) link
― Alex in SF (Alex in SF), Thursday, 15 April 2004 17:43 (twenty years ago) link
1. Nass El Ghiwane - Qandile M’DaouiDabrye - Game Over
2. Styles of Beyond - Mr. Brown Biddy Bi-Bi Remix instrumentalAfghanistan Et Iran - Chant TurkemeneSeeed - Pharao Version
3..Sizzla - ObstaclesSeeed - Music Monks
4.0ve-Naxx - WarteBurundi Walking TuneSabaya et Intifada - Min Al Mukhayyam Toulad Ru’aya
5. Kelis - Milkshake acappella Ronin - Slick PrettyHecker - from 2 track 12”Poporc - Momieculture
6. 113 Tonton DuBledCraig Thompson - H&K riddim
7. Nettle GUT: Mehmet Irdel’s GUT remixBuji. Banton - Champion acappella
8. Busta Rhymes - Light Your Ass On Fire Club MixDaniel Lewis - Version EgyptianBusta Rhymes - Light Your Ass On Fire acappella
9. T.0 K. Coulda WhaElephant Man - Egyptian DanceTrick Daddy - In Da Wind
10. Sickboy - Worst Trade CentralTom - Cure Version
11. Jungle Brothers - How Ya Want It acappellaK - MurdahElectric Kettle - Angry Rootsman
― Alex in SF (Alex in SF), Thursday, 15 April 2004 23:17 (twenty years ago) link
― (Jon L), Thursday, 15 April 2004 23:29 (twenty years ago) link
― ryan kuo (ryan kuo), Thursday, 15 April 2004 23:37 (twenty years ago) link
― Sterling Clover (s_clover), Friday, 16 April 2004 01:47 (twenty years ago) link
― @d@ml (nordicskilla), Friday, 16 April 2004 02:00 (twenty years ago) link
― @d@ml (nordicskilla), Friday, 16 April 2004 02:02 (twenty years ago) link
― Sterling Clover (s_clover), Friday, 16 April 2004 02:06 (twenty years ago) link
― (Jon L), Friday, 16 April 2004 02:56 (twenty years ago) link
You don't know, then. It is and always was copyright infringement, same as up/downloading. They just care less about that kind of copying because it's less promiscuous.
― bbbb, Friday, 16 April 2004 06:18 (twenty years ago) link
both comments mean that i like it. haven't really heard the 2nd half yet, but the busta rhymes over the egyptian riddim is sick and i thought the drill n' bass cure song was pretty fresh.
― JaXoN (JasonD), Friday, 16 April 2004 06:49 (twenty years ago) link
― prima fassy (mwah), Friday, 16 April 2004 09:34 (twenty years ago) link
'how you want it' accapella tho! woo! yay for reminding me of andy smith's the document
― prima fassy (mwah), Friday, 16 April 2004 09:38 (twenty years ago) link
― Dave Stelfox (Dave Stelfox), Friday, 16 April 2004 09:51 (twenty years ago) link
― Ronan (Ronan), Friday, 16 April 2004 09:54 (twenty years ago) link
― Dave Stelfox (Dave Stelfox), Friday, 16 April 2004 09:57 (twenty years ago) link
― Ronan (Ronan), Friday, 16 April 2004 10:00 (twenty years ago) link
(yay, for smugness - and hypocrisy!)
― Dave Stelfox (Dave Stelfox), Friday, 16 April 2004 10:02 (twenty years ago) link
― Tico Tico (Tico Tico), Friday, 16 April 2004 10:12 (twenty years ago) link
― ryan kuo (ryan kuo), Friday, 16 April 2004 10:24 (twenty years ago) link
― Dave Stelfox (Dave Stelfox), Friday, 16 April 2004 10:26 (twenty years ago) link
You might as well say that pursuing some kind of monocultural purism is inherently fascistic.
Or that putting as many big pop hooks together as possible is inherently pandering.
Sure, diasporism can be smug, usually when accompanied by pretentious rhetoric (DJ Spooky) or vapid cosmic overtones (er, remember when all the ambient people were doing musical travelogues).
But Rupture doesn't do either of these things. Nor does he bland all the musics out into mush. Nor does he pretend to any kind of "fusion." Quite the opposite. He lets everything clash against everything else, keeps the noise front and center, makes connections but never at the expense of the beat. Pretty much an ideal model for this sort of thing.
Need more coffee!
― bugged out, Friday, 16 April 2004 10:27 (twenty years ago) link
― bugged out, Friday, 16 April 2004 10:36 (twenty years ago) link
― bugged out, Friday, 16 April 2004 10:43 (twenty years ago) link
― Dave Stelfox (Dave Stelfox), Friday, 16 April 2004 10:45 (twenty years ago) link
― Dave Stelfox (Dave Stelfox), Friday, 16 April 2004 10:46 (twenty years ago) link
i dont buy the inherently smug thing either tho, cos i find that rupture mixes, much like perching on a pruned opinion like "fascist rap", to do nothing to increase the charm of what he uses, i'd allow like bugged out sez that he retains some vitality with the clash aesthetic but it seems a noisy grabby unsympathetic way of doing it. he seems like he thinks he's still weaving soemthing new, tearing off revealing some greater vertigo, but i find that destructive. destructive physiognomy. and no i dont find his use of more obv stuff like egyptian riddim/'light yr ass'/kelis suggests popness but a cheap eye for the most casually yeah "futuristic" blah blah. ok the german dancehall thing was a bit harsh (electric boogie riddim *retch*) but it seems indicative of something, a more peripheral rhetorical 2nd generation mutation circle
― prima fassy (mwah), Friday, 16 April 2004 11:00 (twenty years ago) link
― prima fassy (mwah), Friday, 16 April 2004 11:02 (twenty years ago) link
(It may well be that easier music access and a shuffle-play listening culture will make selling eclecticism increasingly difficult.)
― Tico Tico (Tico Tico), Friday, 16 April 2004 11:04 (twenty years ago) link
i make absolutely no apology for this whatever. i get paid for *my* views *my* ideas *my* writing, not be or think about anyone else. my judgements are my judgements and when people know me, they either agree with me in the main and find my work useful or they think i'm a dick and don't. i don't see how this is a bad thing. re chumminess, it's not, it's just respect and a little civility. i'm not namedropping, then name's already been dropped!
― Dave Stelfox (Dave Stelfox), Friday, 16 April 2004 11:07 (twenty years ago) link
― Dave Stelfox (Dave Stelfox), Friday, 16 April 2004 11:09 (twenty years ago) link
Well, both really, but mainly the first one, which I was thinking might make this harder to find online. By which I mean shops, since I can't download at home and post from a cafe on my lunch break.
― Barima (Barima), Friday, 16 April 2004 11:17 (twenty years ago) link
hey dave when i say selfcentred i mean the opinions coming distant second to your flirting. like a wise dude once said, "you only defend things cos u like em". cudgeled swine leave me be
― prima fassy (mwah), Friday, 16 April 2004 11:19 (twenty years ago) link
GTT is so burned into my brain now that it is sorta dull when i go back.
― wat is teh waht (s.clover), Friday, 25 April 2014 02:25 (ten years ago) link
i'll always love about half the uproot album (and the whole thing is compelling).
― Daniel, Esq 2, Friday, 25 April 2014 02:25 (ten years ago) link
Would like to read the books his Mudd Up book club is reading
http://www.negrophonic.com/?s=mudd+up+book+clubb
― curmudgeon, Friday, 25 April 2014 13:13 (ten years ago) link
i still care but he's working on a book more than music these days.
― festival culture (Jordan), Friday, 25 April 2014 13:50 (ten years ago) link
http://www.jaceclayton.com/gallery/enkutatash/ Ethiopian New Year's and 9/11 event
Enkutatash is a large-scale public choral work by Jace Clayton commissioned by the 5x5 Festival. It will premier in Washington D.C. on September 11, 2014. The score for Enkutatash is based on the Homeland Security Advisory System, the U.S. government's 5 level color-coded terrorism threat alerts which ran from 2002 to 2011. Enkutatash treats the changing threat-level data as a musical score, which will be sung by local choir groups and the audience, using the five-note (pentatonic) musical scale of D.C.'s Ethiopian community. Each note corresponds to a threat level color, and each day is a second – allowing us to sing the nine years of Threat Level Advisories in 45 minutes. Accompanying the sustained choral tones, an Ethiopian vocalist and masinqo (one-string African violin) player will perform a composition by Clayton based on a traditional East African harvest song. During the performance, the score will be indicated by light bulbs and colored flags. This simple visual system lets non-musicians participate, and will remain installed for duration of the festival. The slowly-changing US Threat colors constituted a song of fear, war, and suspicion. Enkutatash seeks to transform that it into its opposite: a song of planting, harvest, sustenance and seasonal time. Ethiopia has a unique calendar system whose New Year occurs on September 11th. This holiday is called ‘Enkutatash’, and is a celebration of family, neighbors, and yearly cycles. Clayton’s Enkutatash takes its name and premier date from this as an alternative to the geopolitically fraught connotations of 9/11 -- transforming a political warning into communal music.
― curmudgeon, Friday, 29 August 2014 01:08 (nine years ago) link
There's gonna be a NY sneak preview too
― curmudgeon, Friday, 29 August 2014 13:54 (nine years ago) link
I think tomorrow the 5th bit I am not seeing the details anywhere
― curmudgeon, Thursday, 4 September 2014 16:57 (nine years ago) link
https://soundcloud.com/djrupture/enkutatash-preview-excerpt-free-performance-in-dc-thurs-sept-11
― curmudgeon, Monday, 8 September 2014 04:44 (nine years ago) link
Might get rained out
― curmudgeon, Thursday, 11 September 2014 21:17 (nine years ago) link
No rain. A mix of minimal avante-classical choral vocals with Ethiopian instrumentation and vocals...Kinda interesting though dull at times
― curmudgeon, Friday, 12 September 2014 14:31 (nine years ago) link
Just pointing out the 2015 Mutamassik (Giulia Loli) release, Symbols Follow is out and its the best thing I've heard of its kin in some while.
Most if not all, in disjointed order, in this playlist:
https://www.youtube.com/watch?v=LQWlVGWCwsc&list=UUGCKxBp-vrR_wiLlkXV8IFg
― gate gate paragate parasamgate (Sanpaku), Thursday, 1 October 2015 04:31 (eight years ago) link
He's got a book, and is talking about it in NYC tonight with J Shep. I'm curious about it, but haven't read it.
Jace Clayton With Julianne Escobedo Shepherd
Travels in Twenty-First-Century Music and Digital Culture is the debut book by Jace Clayton, also known as DJ /rupture. The book takes readers around the world to investigate how a broad spectrum of cultures have responded to and incorporated new technologies into their musical forms.
7 pm at McNally Jackson Books, 52 Prince Street, New York
― curmudgeon, Thursday, 15 September 2016 20:24 (seven years ago) link