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Tag Archives: i-hop

On the Persistence of the Wind Chime in Instrumental Hip-hop

Free beats from Great Britain via Bulgaria

The wind chime is not the most likely percussive instrument in a hip-hop track — nor a likely melodic component, for that matter. It is slight, and prone to inaccuracy, and has all the swagger of a mid-nap pixie-dust sprite. But in the hands of Third Person Lurkin, a characteristically old-school member of the roster at the Bulgarian netlabel Dusted Wax, the chime serves multiple purposes. (It also, truth be told, may be a tiny bell and not a chime, but the effect is the same.) It initially appears in the track “Over Forgotten Places,” off the Cloud Mirror album, as an accent, one sound among many. Even when it initially repeats, it seems more like a flourish than a building block. But as the track proceeds, that’s exactly what it is: the key enabler of swing in the track, a swing that’s as fragile as a dust-laden cobweb in an afternoon breeze, but a swing nonetheless (MP3). In its own way, it is just as much a sonic irritant as once were the sirens that bled through Bomb Squad productions for Public Enemy, but here it’s an irritant along the lines of near-subaural “mosquito” tones that are used to shoo teens from convenience stores.

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Get the full album for free download at dustedwax.org; there’s some beautiful echoed horn in the track “Sun Domes.” More from Third Person Lurkin, who’s based in England, at thirdpersonlurkin.bandcamp.com.

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New Essential Instrumental Hip-Hop (MP3)

As he promised on Twitter a couple months back, Philadephia-based producer Y?Arcka, aka WHYArcka, aka Arckatron, aka Shawn Kelly, has posted a slate of his recent instrumental tracks for free download and steaming. Kelly’s modus operandi is to dive deep into a single track, to extract a small part, like the riff or hook equivalent of a chromosome, and to then extrapolate from it an entirely new song. Generally speaking, Y?Arcka favors the less prominent chromosomes. Most producers of hip-hop instrumentals, which is, broadly speaking, how his music might be categorized (though it could just as easily be called plunderphonic), would favor, say, the hook equivalent of the chromosome for a strong chin. Kelly instead goes for the chromosome that is to blame for the patient’s slight instep. (As he tweeted back in May, “samples are where u never expect them to be.”) In one Jackson 5 remix, for example, he removed Michael in favor of two of the less popular brothers.

The new album turns another Jackson rifflet (a surprisingly prominent shard of “Rock with You”) into an estuary, but that’s just when it’s getting started. The collection is titled Blew Off the Burner Kinda Dusty, and its seven tracks show Kelly to be stronger than ever. Some of his earlier work emphasized ingenuity and off-kilter beats over compositional wholeness, but each of the seven tracks on Blew Off are full songs — not thoroughly conceived backing tracks awaiting a vocalist to complete them, just full songs.

The term “instrumental,” by the way, means a whole other thing in hip-hop, since a solid chunk of Kelly’s sample archive is vocal, if not verbal — vocal in factual terms, but no more or less textural and rhythmic than the rest of his source material. Perhaps the finest moment on Blew Off exemplifies this: “Swth,” which despite its Autechre-like title is a restlessly smooth affair, an endless give and take of hushed moans and rippling beats, bringing to mind some of the more subtle moments off Common’s under appreciated album Be.

The cover shows Kelly apparently blowing dust off his MPC beat machine, but if you ignore the set’s title, it’s also possible to think he’s about to give it a kiss.

Get the full set for free at arckatron.us. And I’m honored that the artist link on the album’s webpage goes directly to this interview I conducted with Kelly back in 2009: “Young Communicator.”

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Fragments from the iMaschine (MP3)

Small software, small experiments, small files. Mike Rotondo recently tweeted a new recording, and it turned out to be 35 seconds of beat bliss. Arguably shorter than that, given its loop-based construction — and arguably longer, given its inherent temptation to be set on loop for an extended period of time.

Titled “Flip Throw In,” it has the feel of a hip-hop production waiting for vocalists, but one secretly more than happy to keep the pace all by itself. There’s a robot heartbeat of a pulse, and what appears to be a sample of piano. Not only does the looseness of the analog piano recording align at best roughly, and therefore rewardingly, with the tensile routine of the tiny beat — so, too, does the lush low fidelity of the recording, a kind of muslin filter, pair against the beat’s pixel precision. The result is promising: a little of J Dilla’s underkey metrics, a little of Kanye West’s alchemical ability to turn sloppy into louche, a little of DJ Premier’s fetish for imperfect ivories. “Flip Throw In” was recorded in an inexpensive iOS app called iMaschine that its developer describes as a “beat sketchpad,” pictured up top. From little things, lovely little things grow.

Track originally posted at Rotondo’s soundcloud.com/treehouses account. More on iMaschine at native-instruments.com.

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A (Temporarily Free) Record Album in Advance of Its Instrumentals

First: act quickly, as this free offer is only good until 9:19pm this evening, Philadelphia time. The Philadelphia-based producer Y?Arcka is a frequent subject of Downstream entries here at Disquiet.com, thanks to his intensely focused hip-hop productions, which tend to take a tiny slip of an existing track and extrapolate from it a fully considered instrumental composition. Though his own works at times push him toward the avant-garde edge of the instrumental-hip-hop continuum, Y?Arcka (alternately Why?Arcka, which stands for Young Architect) in no way distances himself from basic algebra of hip-hop, in which a prepared track is passed to a vocalist, yielding a finished work that has, generally speaking, one author responsible for each of its constituent parts — not counting, of course, the musicians who were the source for the samples, or guest vocalists.

In a full album just out today, and available for free download only until 9:19pm (Philadelphia Time), Y?Arcka has teamed with over a dozen rappers/vocalists, including the noted rhythmic raconteur Zilla Rocca. According to a tweet Y?Arcka sent me earlier today, folks who download the album will also receive a set of the instrumental versions. Especially looking forward to hearing the instrumental of “Up My Sleeve,” its central riff something halfway between a talking drum and a flute, and of “Mr. Matic,” with its super tight mix of drums and guitar.

Album available at arckatron.bandcamp.com. Y?Arcka is on Twitter at twitter.com/whyarcka, where he bills himself as “conceptual programmer.” Read a 2009 Disquiet.com interview with Y?Arcka, born Shawn Kelly: “Young Communicator.”

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When Seams Are Showing (MP3)

The appearance of a seam in sample-based music is not, unto itself, a sure sign of sloppiness. It can be employed as a texture, as a beat, even as a full-blown compositional element — in other words, the signifier of an error can be used, quite the contrary, as a considered, purposeful musical tool. This ability to turn mistake into music is one of many reasons that hip-hop is often likened to jazz, even if the latter is inherently improvised and the former (the backing track, if not the vocals) is inherently frozen.

The “sample seam” is generally heard as one of two things, as either a sudden gap or as a harsh truncation. It’s either a momentary pause between two common elements, as when a looped tone is intended to sound continuously but leaves a small break, or a quick cut, as when a sound is brought to an artificial close for metric and, in capable hands, rhythmic effect. (Metric would be to match the beat. Rhythmic would be to do so with artful implication.)

The “sample seam” is born of studio production, but it is not without parallel in so-called “traditional” instruments: think of the flutist taking a quick breath of air, or the guitartist’s finger resonating on the surface of a string, or the woodwind’s keys heard fluttering. Of course, those examples still depend on the presence of amplification for the effect to be heard, but that requirement just firms up the parallel between those sounds and that of the “sample seam.”

This all came to mind during several listens to Learning to Draw, a new collection by a beatcrafty musician who goes by the name Hypoetical. The standout track is its second entry, titled “Meditation,” in which a guitar loop serves as the constant element for a feat of downtempo loveliness (MP3). Also appearing are drums, bass, and a tremulous xylophone, each of those distinct parts heard as a self-conscious loop whose artificiality is essential to its delectability.

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Get the full album, seven tracks total, for free download at dustedwax.org. More on Hypoetical at hypoetical.net. He was previously featured here for pairing turntablism and koto.

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