EMP010
10.17.11
emp010a
emp010b
Steven Tang is back on Emphasis Recordings with another 12″ from him using his Tang moniker titled Bass Synergy. I am a little late on the draw as this record dropped back in July; however in the usually Emphasis style, this release is classic and I think worthy of attention anytime. Check the sounds below and get the full feel:
Bass Synergy///Begins with a nice melody line that is quickly joined by warm strings, and then a second synth comes in to lead you back to the original theme of the song. Tang delivers a glowing track with moving drums and a feeling of brightness.
Drone///Is a fast pace heater that begins with some drums followed by a quickly struck synth line that rocks all the way through the tune. Definitely a track for the people who are trying to bang out the party.
Synchronism///Ends this project with a playful pad that builds into a happy sounding synth line. Then more strings arrive to complete the music spectrum. Deep House with that Techno feel right here!
If you missed it, check for it now!
http://www.crosstalkintl.com/node/32829
Hakim Murphy
mdreams006
9.12.11
mdreams006 side A
mdreams006 side B
Number 006 is materializing from Amir Alexander, who presents a deep project called Interdimensional Transit EP. Moving through the worm hole, a track materializes at each stop offering emotive tunes that pull at your senses. Alexander shows off his skills as you travel into four different universes encompassed within four House yet Techno musical adventures.
White Rhino (deep down beat down)///Begins the journey with an up tempo banger in which the bass syncopates ever so nicely. A message about the White Rhino ensues quickly and more synths come to take you on a space age trip.
Transcend///Smooth synth line with a deep kick; leads us to gritty yet soft pads that build and build as vision of stars are created by waveforms.
Deep Within///Bassline and melodies blare out as the beat pulsates, and out of no where a voice comes up from deep within the darkness.
The Abyss///Ending the journey is a super deep tunes that relaxes your mind, as you go deeper and deeper with the bassline, chords, and vocals…
Four tunes to bang… More about Amir here:
Available at:
http://www.crosstalkintl.com/node/33854
Hakim Murphy
mm28
8.11.11
mm28 A side
mm28 B Side
The last few blog posts have been featuring peeps and labels from the east coast. This time I am going to bring it back to the midwest but this time with a Detroit cat named Andres who has been tearing it up on vinyl since 1997. Andres III 12″ on Mahagani Music may not be in the underground (Moodymann’s label) but I think this record offers great music seemly composed with mostly samples on analog equipment. Andres production is quite stunning, though most of the tunes are short, they contain quite alot of sounds that transform ever so subtly. Usually I like to feature the bangers for djs but I guess I am bringing it to chill mode in August.
Furthermore, Andres’ name has passed me by for several years and after asking a couple of friends who follow him; I found out he is a stellar hip hop dj. So then this 12″ all makes sense being that all the tunes are mid to downtempo. Lately in my own productions I have been thinking about making music just for listening, and this is something that the Detroit cats in the electronic scene have been doing so well for some time. Making hot listening records and this 12″ is no different as Andres is offering up two Disco/House tracks and four Hip-Hop tunes that make for a solid 20 minutes of play time, let’s check the sounds:
Be Free Baby//Begins the journey with a hot Jazz inspired dance tune as a sweet piano rift builds into a nice grooving jam with a standard backbeat. Then ever so softly many new great sounds appear as the tune continues to grow until the very end.
We Run Tings//Begins with a dirty synth sound and some voices on the Hip-Hop tip as it transforms into a nice melody with some banging percussion. The voice becomes the main focus as Andres changes the flavor of the tune.
Baby//Andres funks it up with crazy loop re-triggering as he makes a new composition. Lots of things going on as the beat proceeds in great fashion. Words and soul right here!
Make it Last//Nice sample to open the tune as the main drums turns into a smooth transition of rhythms. A nice interlude of love thoughts and beats.
Don’t Fall In//Now back to the more uptempo sounds as the syncopating drums move as a great melody sounds and then there is a vocal that fits in perfect harmony.
Outta this Earth//The most jazziest tune on the release, banging hip hop all day with its aggressive drumming and skillfully triggered samples.
All in all I really enjoyed listening to this record and as I am a hip hop head. I really enjoyed the flow of this vinyl piece and Andres has completed a rare feet again by seamlessly integrating House, Disco, and Hip-Hop on one 12″. I guess Andres is what you call on the urban music tip.
http://www.crosstalkintl.com/node/33271
http://webstore.gramaphonerecords.com/andresandresiii.aspx
hakim murphy
SS002CD
7/7/11
Transmissible Spongiform Encephalopathy LP
DJ Spider is out as his alter ego Kuru in the second installment on his cd only label Sublevel Sounds. Kuru steps onto the scene with an LP title so esoteric I had to look up the meaning because I needed to know what I was about to listen to. Transmissible Spongiform Enephalopathy LP positively affects the nervous system as you surge through this album. Deteriorating your senses with dark synth work, crunchy textures, and superb atmosphere. Definitely for the djs who like to play some speedy deep tunes. Let’s check the sounds:
Daimajin///Aggressively begins with mad atmosphere; then screaming in the background are the eerie synth and crunchy bass. This tune just keeps banging as percussion swirls.
Beyond Vision///Scouring through the darkness, lots of synths slowly appear and have a symposium in your eardrum. Atmosphere and lots of texture dominate as a nice baseline appears.
The Draconian Hybrids///Deepness, as percussion begins the track and then out of nowhere, some emotive chords start accompanied by a moving bassline. Meanwhile the atmosphere is thick and dark, while the chunkiness and busy sounds continue to constantly morph the track.
Black Moon Lilith///Breathing and living, the beat bounces as chords sound. The chords are complementary in nature; the bassline is packing all the action.
Unseen Overlord///Crazy sounds begin this tune, chords move and open up while the effected percussive sound continues to sound. Kuru comes up from the deep within just below the dark abyss with this one.
House Cannibal///Funky bassline starts as a PSA sounds while the drums change and more samples arrive to chunky up the track.
Beneath The Underground///Sounds like a submarine decompressing slowly, as the atmosphere is thick and heavy with sounds (synths and percussion with mad effects) having a conversation in the underworld, which turns into a disagreement, but comes around 360 to agree again sonically.
Mobius Strip///Synth heavy, voices begin as a sweet sounding chord progression takes over while the sounds of the atmosphere becomes more relaxed as the tune fades into oblivion.
After listening through this cd, I felt like I was taking to a strange alien world full of synths and mad samples. Kuru is a master of creating unconventional atmosphere.
hakim murphy
SMR010G
5/21/2011
DJ QU -Gymnastics
So when I got home from overseas a few days ago, I was pleasantly surprised because I had several vinyl, cd, and digital tunes waiting for me. DJ QU’s album was one of them, I was in Japan and I saw QU’s album in the stores so I dropped it on the needle. I took the time to really check it since I had nothing but time to do whatever. Trying to save money, I hit QU up with an offer for a trade and I was blessed with the tunes. So for this first post-Japan entry; I would like to comment on the new Gymnastics album by DJ QU on Strength Music Recordings. It comes in cd or triple vinyl form and features some serious sounds. I feel I have a great understanding of QU’s musical styling, his sound is all about the subtle rhythms, and his experience as a dancer really shines through in his work. I like to focus on the subtleties of percussion in my own productions so it was only natural that I would gravitate toward his sound. But QU offers something to listen for through his mature production, it is quite clear he takes time to find unique sounds for each of his tunes.
I recently heard of QU in the early part last year, I know he has been representing for a while but he finally caught my radar when I started to investigate the neo New York/New Jersey/broader east coast house producer scene. I was like okay here are some new peeps to me, who are representing the underground in a new way. I steadily checked his productions and podcasts as I knew about the album but did not give it a nice listen until I heard it on vinyl in Asia. Then I later listened to QU mix Gymnastics up live in a soundcloud post. I was like this album is making me want to dance, which is always my main point of making tracks. I wanted people to jack. I think QU captures this feeling in his latest presentation. Gymnastics features 11 cuts and a testimony piece from QU with Jus-Ed smashing the box with a guest track that fits right into the Gymnastics concept. QU’s skillful productions are bouncy and they make you want to move as he hits all those in between notes. I had to give some dap and share my views about this album. Sounds below:
Sliding Thru – Begins the journey with some roland machines drum sounds that quickly progress into a groover with several syncopated synth lines that include a nice piano melody. Qu also drops a voice sparsely in and out of the tune.
Step Back Up – Another vocal piece that showcases more of Qu’s piano skills, the subtle drums move and move and move.
Mud The Congo – Is a track heavy on the percussion that goes back to the roots, the indigenous emotions that are present in many subconsciousness’s around the world. Congas and bongos rock as the listener zones out while you get in touch with your inner-self.
Babyluv – Moves in between the beat with the syncopated claps that sound like the beginning rhythm to a Cuban Latin jazz tune. The track then goes deeper through a chord progression, harmonized vocals, and moving 16th note hi-hats.
Get Sum – Starts with a nice syncopated bass and interesting percussion that filters up into a droning voice that begins as the tune interweaves between focusing on the voice and bassline.
First Down – Shows of QU’s harmonic skills, with a string chord progression that is enhanced by great pianos keys, which move along quite well together as these elements sweep up and down in volume articulation. Again, the drum production is moving every so steadily.
Thrilla – Is dark with a dirty baseline that helps transform this track into a surreal state through its eerie droning background sounds. The syncopated snare hits and then another snare hits even harder; and then all of sudden you are in the groove as it opens up with more percussion as QU breaks it down and brings it back again.
Juicyfruit – QU flips the script with this tune by changing the main focus of the track into a sound that you least expect. The percussion is complex, and synths are moving ever so subtlety as vocal exist and then don’t, and yet a B section appears to give added depth to the tune.
Prayer – All yes, tasty old sounds open this track and then some banging drums come in as the hi-hats accent to create a serious rhythm. More and more sounds build on top of each other as words sound, synths become louder, and the bass beats.
Jus-Ed’s Aerial – House all day right here, the base groove is deep and the strings speak in the background. Then several toms begin to appear and evolve to really drive the tune. Keys then begin as the emotions swirl and right when there couldn’t possible be more; a sax comes in… and then return back to the emotive chords.
Opened Arms – In this tune the synths sound more technoish yet deep. The background kick is broken but is then joined by an addition kick that is four on the floor. The syncopation is grooving as an additional synth beeps in the forefront while some vocals decide to appear every once and a while.
What We’ve Concluded This Far – Words about about QU’s style with a beat barely in the background.
Mixing Room – A guitar sounding instrument begins the tune that builds into some cool synth work. QU uses some unique sounds here, in which some resemble oboes or other reed instruments before he comes back in with the dark synth lines again.
So anyone who needs material to bang the box, I suggest you get up with this album. Perfect for changing moods, building sets, or just rocking at peak time. Very well crafted tunes with solid production techniques that are never boring. Cop it!
hakim murphy
pbr019
5/10/11
pbr019a
pbr019b
Okay I’m in Japan and am now taking time to recover from going out everyday; seeing the sites, eating food, and getting new music. So I am chilling out and decided to do some writing. Being that I am a music person and Tokyo is a good place to get you music and fashion fix on, I am inspired to present some new music. So next on the burner is a piece of vinyl coming out on Plan B Recordings NYC from new artist Chris Mtichell out of Tampa, FL. Chris is a fellow Vanguard Sound member and this is his first vinyl 12″. Moreover this vinyl piece features Dakini9 and Amir Alexander on remix duty, they both did a great job of making brand new ideas from the original material resulting in a diverse vinyl piece. Yeah, this release is for people on the plan b tip, especially if you are looking for music that is 180 degrees opposite of popular culture. Enough prose, let’s get to the music.
Lonely Nights – Is an melody driven tune in which stabbing chords and synth hits that float up from deep within the depths of Chris’ psyche. This is the most emotional tune of the EP.
Lonely Nights (Dakini9 Remix) – Is a raw and sparse soundscape with vocals samples that make it sound quite eerie. The chords sound every once and a while and then laughing voice and reverberating claps take center stage in the track. This tune is great for set transitioning due to the fact that it can blended with most any other dance song.
Worker Ants – Is quite gritty, Chris’ synthesis skills are on display as he works the filters and oscillators to portray a dark mood. The more you listen the deeper you will go into the fathomless, dark world of the proletariat in synthesizer form.
Worker Ants (Amir Alexander Remix) – Brings fourth the calling to the sonic brothers and sister of the struggle with a funky bassline and long sustained chord effects. The drum patterns walk along as the melody line is the call to action!
So the Vanguard advances once again…
hakim murphy
NAT010
J.T.C. - Creep acid
Seriously J.T.C. aka Tadd Mullinix is continuing to drop much heat throughout his career as his new album called Creep Acid on Nation adds to his legend. J.T.C. homage to using retro-machines results in a timeless sounding work because these tunes sound fresh and new. Technology is great but I really do appreciate producers who still can rock with analog gear and conceive new tracks from the machines of the past. I have a serious love for acid tracks and for that matter experimental tunes. So when I got wind of this full length album, I took immediate interest.
Creep Acid is rich and full of texture and life as the analog synths are creatively blended together. Usually it’s hard to find a acid house album that I want to listen through from beginning to end but J.T.C.’s acid lines, synth work, and effect processing continue to stay interesting. Meanwhile his drum programming is never predictable, which compels me more to listen to this album in its entirety. Check the clips here and get a taste:
01 Creep Syringe Diffuses Malligant Agression is a slow tune that rocks with solid drum programing and interludes with some serious synth work. This track is perfect for beatdown sessions.
02 8163264 To The Edge Of Panic is a landscape of random notes on overdrive that I consider on the space age tip; very trippy indeed.
03 Jacques’ Razor moves with a nasty synth line that speaks a story through a wobbly narrative that echos and builds into a solid banger.
04 Infinite Formula is deep, dark, and heavy and guaranteed to rock dance floors across the world as the synth line moves subtly while the flurry of additional lines continuously transform.
05 Cyrptomnesiac Deadly Trainers pulsates as soundscapes are replaced by 303 lines and then back again.
06 Creep Acid as the title track goes on a ride of very un-easy emotion, that surprise you with nasty 4 on the floor beat deep within the psyche of J.T.C.
07 Mahmoud’s Industrial Bath is another beatdown, banger that present some deep words that are audio enough to effect your psyche.
08 Relentless Order is moving as the synth lines pump, the syncopated claps is a mainstay in the track and the snare programming is nice.
09 DOM FM: Devil Mix is a totally possessed tune that is very static and moves your mind into an insane state. Super fast and meant to test your sound resolve.
Yeah Creep Acid is definitely for my record collection. J.T.C. is an expert sound architect and is helping to define a genre called JakBeat championed by Traxx and Nation.
hakim murphy
Kimochi 1
2/14/11
Kimochi 1
Today I am featuring a release from Area aka m50 called Tenderness EP. For those not in the know; m50 has been burning up the decks quietly across the world, meanwhile making his home base on the northside of Chicago. He hosts the Streetbeat show on WNUR at Northwestern University and has released several records over the past year. So in honor of everything underground, here is something to expand your musical palette. Below are some compositions that exposes you to yet another side of Chicago electronic music that lives in the underground. Chicago ambient Techno is the tag line for this release, but yet still deep and soulful. This three track 12″ is very versatile in its feel as the story grows from dance to dreamy soundscapes.
Bed Vertigo is a deep Techno joint that has drowning pads in the background with a driving pulse. The pads slowly build into into a nice, deep harmonic progression of warmth and emotion that continues to take the listener through a deep journey of human feeling.
So Many Fireflies begins with a funky synth line that later blossoms to include a beautiful matching bassline that continues to shuffle nicely. Then another line develops giving it a little more swing; progressing to an additional synth line and a soft sea-wave crash to finish the tune in fine fashion.
Cheap Warmth propagates a calm sound to complete this release. Ambient and relaxing, Area is showing off his ability to convince a listener to meditate while soaking in his soundwaves. I’ll stop writing so just laze and think about something you love while watching this video representation – http://vimeo.com/15519535
hakim murphy
mdreams003
mdreams003
Number 003… Keeping the hot vinyl press churning is the 3rd edition of Machining Dreams by way of the Relapse EP by Obsolete Music Technology. Following on the heels of “The Verged Sessions” on Aesthetic Audio and his track, “Past Virtue” from the various artists’ compilation, Generator: Broadcast In Hi-Tech on Generator Records, Steven Tang of Emphasis Recordings goes into “Relapse” through his alter ego on this brand new 12” release.
This 12” single expresses some serious Chicago mojo, in that the crafting of the tunes fits quite right into the ethos of the Windy City, but in Tang’s unique way, destroying any preconceived notions of what the “Chicago” sound is or was; depending on your point of view. Nevertheless, the music raises deep emotion, touching you subconsciously through his signature instrumentation of warm synth pads, lush strings, and rolling bass lines.
As the chosen pseudonym may suggest, obsolete (outdated) technology was used to create this music. Yet, “Relapse” sounds current and timeless at the same time. Can we really believe that ONLY old instruments were used to materialize this work? Frankly it is insane to believe, but being this insane is good; in that you are in bliss and cannot explain what happened upon your eardrums. Go forth into the world of Obsolete Music Technology and experience firsthand a classic sound circa 2010…
Relapse: acid lines and obsolete drums phase in and out with stellar drum patterns that make you bob your head, followed about a syncopated melody line materialized from a distant dimension.
Drum Relapse: in the remix, drums that can be used to rock the most underground of parties.
Latency: begins, grooves, and then the long whispers of slow pads that beget the title.
End Pass: space is the place as the strings uplift you and deliver you to the kick drum upon you start your decent into the dreamy abyss of toms, snares, rides, and hats.
Relapse again and again and again, you know you want to!
Distributed by:
Crosstalk International Chicago
650 W. Lake St.
Chicago, IL 60661
312.715.1230
Sonic Subversion
10/19/10
Sonic Subversion
Ah yes, I have prepared a special segment featuring my friend and mastering guy Amir Alexander. Definitely making some moves, and case in point with this new digital release from Plan B entitled Sonic Subversion EP. I’ll let Amir elaborate on himself and this release.
Amir what up homie?
Hakim my man, at the moment, a lot of things are up. I’m lucky to be a part of a very inspiring collective of very creative, unique individuals. I have found a true home in Plan B Recordings. I am focused on building the brand Vanguard Sound! Plus, a bunch of other personal growth/self realization stuff. So, I have a full plate.
Channeling: A man speaks and then a gritty driving bass accompanied by some syncopated chords that begin to take you to the altered states through the hypnotizing grooves of the lower sound registers. Lost in the groove, channeling knowledge is dropped into the psyche.
So Where are your from, who are your influences?
I’m an army brat so I say that I am from the “states”. I moved around a lot as a child. Eventually settling in Florida, where my parents are from. I graduated high school and then lived all over the state for a minute. I eventually moved out to San Francisco where I spent a couple years or so. For the last six years I’ve lived in Chicago, and/or the Chi-‘Burbs.
My first influence as a DJ was Mr. Larry Levan. Even before I had ever heard a mixtape, I was aware of his legend. I decided that I too wanted to touch people in that way. Ron Hardy also tops that list.
As far as DJ.’s I’ve heard live go, Vanguard Sound Crew member DJ. Chang a.k.a. Carlitos Corcho would’ve been the first.
As you may be aware, Florida is primarily known for unsophisticated commercial sounds (notice that I didn’t say music). When I first encountered Chang, he was playing real house. As opposed to the prominent of the sound of the state, which I have labeled halfway house. Chang, along with my other Florida influence Chris Milo a.k.a. DJ. Three, were champions of quality underground techno, which I love.
The next major influences are members of the same San Francisco clique, “The Wicked Crew” Those gentlemen are DJ.’s Marky, and Garth. Their crew is single handedly credited as the collective who brought house/techno to San Fran/Cali in the late 80′s early 90′s. They threw legendary full moon parties on isolated beaches though out the state. Old school style. You had to go to the check point and then call for more directions to find out where the party was.
My last influence as a DJ. hails from Chicago. As you know, I just left there after a six year stint. Anyone who lives there for any amount of time will dicover that the best DJ’s in Chi don’t got much press, and many are unknown outside of their neighborhoods.
I had heard all of these big names who sounded like they were going through the motions. Then I heard Traxx……
I like him ’cause he plays like me. I could tell that he comes from the same place sonically. He influenced me to keep doing me.
It is the same with my production influences with the exception of one.
Robert Hood (Detroit), Omar S. (Detroit), Dj. Spider (NYC), and Dakini9 a.k.a. Lola (NYC).
I was blessed to make a bit of a name for myself in Chicago relatively quickly. Upon completion of that task, which is no small feat, I dropped out of the local Dj. rat race to focus solely on production.
For 2 1/2 years I didn’t go out and I didn’t listen to any music I didn’t write except for the occasional track sent to me by my producer friends. I purposely lost touch with the outside world so that I could access the “God within”.
When I resurfaced, minimal was the new it. I quickly began to discover that I was making minimal without ever having heard of it. What’s more is that I heard elements in both Robert Hood and Omar S.’s tracks that were not too dissimilar from what I do. Needless to say, it was major validation because as I began to study and catch up with the “scene”, I realized that the world loved these men, and if I could figure out how to be heard, they might love me as well. Then the universe led me to Plan B. I had the exact same experience with Spider and Lola. I had never heard of them, but when I heard the first note of the first track of theirs, I knew that Plan B was my home. The final influence as a producer is and has been you. Through the fellowship and support you provide me I am able to do my thing knowing that at least one person is listening. Thank-You Hakim.
How would you describe your musical taste?
Eclectic. Provocative and Varied. In my school days I was a skateboarding b-boy who was also in jazz band etc. so I came into contact with a wide spectrum of music. Every thing from New York hip hop to punk rock bands such as the Dead Kennedy’s, to Bach, and Mozart as well as the dance music of the period. I learned early on to be open to new experiences, sounds, people and points of view.
Deep Banger: Dark and gritty the acid bass grabs you as the bass bins shiver. The neo acid grooves takes you on a dark journey of tones with subtle passing sounds to accompany you on the ride.
How long have you been producing and djing?
I decided to become a Dj. In the fall of 1993. My first mix tape was a pause mix on one turntable and a cassette player. I bought my first set of decks and an old Gemini mixer in April of 94. Technics SL-D202 and a SL-D303 the ones with the tiny little rotary pitch control. When I started learning how to mix records, I was attracted to the difficulty/ challenge of learning to match beats. I loved the fact that it was hard, and that to get to any level of proficiency, you had to practice your ass off. Back then it was considered cool to be good at something. These days it seems that it’s all about short cuts. The true disk jock loves everything about the vinyl format, Everything! Being a Dj. was never about taking short cuts. I have been told that I sound anti digital, which is not the case at all. I am against the systematic killing of the vinyl based recording industry that we all owe a major debt of gratitude to. Being that I have, and will most likely continue to have some of my releases out digitally, I have been forced to adapt. Records are heavy. They were when we all started. Nothing changed. If you are a vinyl jock for long enough you will lose or have some of your favorites stolen from you. It’s always been the case, so all of the convenience based excuses fall on deaf ears when it comes to me. What the fuck ever. Pioneer and laziness is killing us. The old school heads would use their reel to reel players the way that I use c.d.’s…… as a supplement, or a third turntable.
Every now and again there will be music that is not available in vinyl format. That’s when I use c.d.’s.
I started producing with my friend Chris Mitchell in 1998. I had an electric bass, and he had an Akai MPC 2000 w/effects and the 8 line outs, a Boss Dr-202 Dr. Sampler. The one with the sweet filter, and ring modulator, a Roland tone generator, and a Juno 106. When I moved to San Fran I didn’t have access to any gear other than my electric bass, turn tables and the sampler that Chris gave me. When I got back to Florida in 2000 or so, I began making music on a Roland mc303 groove box for 3 years really learning how to program until I finally got a computer in 2003.
Jabberwocky: Happy beats masked with a bit of flange with acid house undertones. A voice is heard, encouraging you to listen closer and dance to the sounds at hand.
Where can we find your other releases?
My releases that are not on Plan B Recordings NYC can be found on Bearatone Recordings Chicago. And eventually Machining Dreams, (I hope).
What’s your philosophy on making music?
Let’s see…… I can start by stating that I believe that an artist should try to give their best effort every time, and that there is no room for playing it safe amongst the elite in this field. The day you start to play it safe or go through the motions is the day that you should get out of the way. I am blessed with among other things, the gift of long vision. I wish to contribute to the postmodernist sociological history of art culture as a whole. Bach, Beethoven, Brahms, Parker, Coltrane. Ornette Coleman, Sun Rah, Hendrix, etc. History will record their contributions. I am just trying to do what it takes to be in that club. For me as an artist, I wish to inspire someone. To do for someone else, what was done for me. And most importantly. I believe that one should strive to be genuine and not be afraid to find their own voice/sound.
Nocturnal: The bass undertones guide the chords and drive the track. Probably best banged late at night, preferably on a dance floor. The melody takes it over the top, completing the presentation of the tones though the various spectrum of octaves ranges.
So I’m also part of Vanguard Sound!, since it is your vision could you elaborate more as to what it is and where it is going?
Amir: Wow! This might be a very long multi-part answer………..
O.k. Hakim,
We can and are really going to get deep on this………
Thank-you so much for being the catalyst. In that you asked me to define Vanguard Sound As I see it.
It’s all about fuckin’ shit up sonically!
Hakim: Yeah, this crew is about your vision.
It’s about making everyone involved stretch a bit
It’s about the first time you heard some crazy ass shit you’d never heard before, and instantly knowing that you’ve finally found your home, it’s about facilitating that experience for our decedents, as our ancestors did for us.
It’s about excellence! It’s about fun and for us, the Vanguard Crew, it’s about war!
We are artists!
We do what we do because we have to. It is our life purpose. Vanguard Sound is about a coup de tat.
I, as Guerrilla Soul a.k.a Agent #8 am a reconnaissance shape shifter.
My purpose as said agent is to identify and co opt sleeper cells.
I am a politician, a world Bridger bringing disparate militias together.
We are all co captains in this regiment who seek vengeance upon the idolaters and worshipers of hype and excess……
As previously stated Vanguard Sound seeks to subvert the dominant paradigm… the exposure of the truth…….
Us.
There you have it my friend.
It used to be cool to be smart and different. I know that went out of style but with Vanguard Sound we can bring it all back to basics. The music.
Flowing … that’s cool.
Sky’s the limit but as artists we support and bring out the best in each other.
Sounds like a good philosophy.
People used to look at me like I had a turd on my forehead when I would get on this in the Chi.
The purpose is to advance the art form. Because it really is art.
Yes!
You can tell by the music where producers are coming from.
Basically just do what you feel.
Feel…….. that’s right! You know it when it’s right. Hakim you have helped me to begin the process of defining the parameters.
I think people have a hard time understanding my creative process. I just do whatever with my music.
Because you sir, are an artist.
I always felt them. I just hadn’t manifested them into the material world
But, I understood it from the jump.
That’s why even though I moved to Florida, in many ways between us it’s like I never left.
Real recognizes Real.
Back to the war…..
Word..
Evil forces have taken this music/culture that we love so much and reduced it to a gimmicky product
We Will take it back!
I’m on a mission too.
Between the members of the crew we got around 130 years of perspective
You are on a mission, that’s how we linked up. As espionage Agent8, I am duty bound to attempt to make allies of those I recognize as true soldiers who don’t give a fuck. I have thrown everything into the pot a far as this shit goes. Chez Damier said if you really believe in what you’re doing then take a risk.
We are about to build a legend…. the future is now, and we will bring it as a battalion.
Trying…
We all are.
One fiber is a thread, several can braid and become a rope. We are all much stronger together, but we still all hold our own much like the Wu Tang Clan.
Overwhelming force of numbers.
It’s gonna be somebody…. we are true of intention and, we’ve put in work. why not us?
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There you have a synopsis of Amir Alexander and his music life. I will leave this post with a mix from Amir called:
Jack the Clipper
hakim
