Jantsen: Gutter Music (2007)

::: So lately I have been getting into a lot of mash-up projects, most of which combine rap/hip-hop and intense electronic music. While browsing through the iTunes radio stations I came across one called "Psyphy Machine" that really caught my ear. The station revolves around this psyphy (psychedelic/hyphy) style of mash-ups and original productions, where hard-hitting electronic synths are combined with hip hop elements. One artist that particularly impressed me was Jantsen, out of Colorado. His work resembles the style of eDIT and Tipper, but he puts his own unique twists on each track. The mix opens up with a dope mash-up of "Still Bigger Than Hip Hop" by Dead Prez and "Ruck" off of Tipper's Tip Hop album. The entire set is an eclectic blend of styles, but overall it has a riotous and glitched-out feel to it. Jantsen also has another mixtape called Whomptronica, where he mixes other glitch-hop, psyphy-style artists. Definitely check both albums out if you are into this genre. Both are available for free download on his Myspace Music page.

MySpace Music

Alias: Muted (2003)

::: I'll start off by saying that my favorite producer of instrumental hip hop music would have to be Alias of Anticon. Everything that he creates is amazing, but I'll give my two cents on his 2003 album Muted. I first came across Alias when I heard the Anticon Label Sampler a few years back and was blown away by his tracks "Sixes Last" and "Unseen Sights" featuring Markus Acher of The Notwist. I would describe his music as a mixture of ambient electronic and distorted, hard-hitting drum beats, but that is really oversimplifying it. Muted is one of those albums that when you start listening you almost have to play it all the way through because it is so diverse and compelling. The instrumentation is at times airy and beautiful, and others dark and haunting, all composed by Alias on his impressive collection of studio equipment. But this harmony is offset in many cases by his MPC constructed drum beats that are always dope and always distinct. The beats are coated with distortion, varying between rapid hi hats and sharp snare hits, always with a heavy bass line. All of these elements combine to form a dark and beautiful masterpiece of instrumental hip hop that heads and beat enthusiasts are sure to enjoy. If you are a fan of Anticon, or just instrumental hip hop in general, you have to get this album. Muted is one of the dopest releases I have heard in a long, long time. And if you like this album, definitely check out all of his other albums, as they are equally enthralling.

Tracklist

edIT: Crying Over Pros For No Reason (2004)

::: In one of my previous posts, for Tipper's album, I mentioned that the only person on his level as far as mashing tracks was an artist by the name of edIT. However, to clarify, I'd have to say that edIT is THE master of the mash-up/glitch-hop genre. Alot of the music that he releases is upbeat and chaotic, leaning toward "get the f**k up" party music. I really enjoy the high energy releases, but personally I prefer his 2004 album entitled Crying Over Pros For No Reason. In fact, it is definitely one of the best glitch based albums ever, yes ever, and is probably my favorite within that genre. Crying Over Pros For No Reason is different than his newer releases and mixes in that it is primarily downtempo and melodic. The entire album is heavily influenced by electronica and synthesized instrumentation, but you can sense the underlying hip hop mechanism that drives the sound. Each track is unique, with some sounding ambient and others more dark and foreboding. Amid these canorous harmonies are interspersed blips, glitches, and unique cadences that do not distract the listener, but enhance the auditory experience. edIT is a master at combining these elements, to the extent that the music has such fluidity that it almost feels liquidous. As each new sound is forced upon the listener like an explosion, it quickly fades away as if sucked back into the aqueous sonance. edIT manages to take the erratic, unpredictable nature of glitch infused music and turn it into something both alluring and progressive. If you haven't heard this album, or edIT in general, do yourself a favor and get Crying Over Pros For No Reason. It is truly one of my favorite albums.

1 Ashtray (4:15)
2 Ants (4:03)
3 Laundry (5:45)
4 Situps Pullups (5:16)
5 Dex (4:28)
6 Twenty Minutes (4:42)
7 Screening Phone Calls (2:48)
8 Mop Head (3:23)
9 Ltlp (3:15)
10 Mildew (1:03)

Shpongle: Tales of the Inexpressible (2001)

::: I first heard this album about 4 years ago when I was living in Lawrence, KS. At the time I primarily only listened to hip-hop, and didn't really have any interest in electronic music. A friend of mine who was really big into electronica told me about Shpongle, and since that day I have been a huge fan. Shpongle is a duo of talented musicians, Simon Posford and Raja Ram, who teamed up to create some of the most amazing cross-cultural psychedelic music I have ever heard. On Tales of the Inexpressible, Shpongle incorporates all different types of music from around the world and fuses them in to a cohesive whole. At times it leans toward psy-dub or more downtempo influences, and others it is almost an upbeat dance party. However, the main vibe you get from the album is that it intends to facilitate a personal psychedelic experience (be it a "natural high" or chemically induced). One track in particular, "A New Way to Say 'Hooray!' begins with a vocal sample of the legendary psychedelic guru Terence McKenna. He references his experiences with hallucinogens, affirming that they break down mental barriers and give one's consciousness a "new way to say hooray." All of the tracks flow nicely from one to the next, and none of them seem overly similar or repetitive. I recommend this to anyone who has an open mind when it comes to music from other parts of the world, and enjoys psychedelic-influenced vibes. Sadly, Shpongle released their final album in 2005 entitled Nothing Lasts... But Nothing is Lost (another reference to the late Terence McKenna). I suggest you get that album as well, but Tales of the Inexpressible is my personal favorite.

My Favorites:

Star Shpongled Banner :: An example of the more downtempo style tracks on the album, "Star Shpongled Banner" starts off with a distorted and unintelligible sample of someone talking, and fades into a heavy bassline and melodic vocals. The beat is highly dub influenced, and is accompanied by small piano parts and the beautiful flute playing of Raja Ram. Most of the tracks on the album feature Raja Ram, who adds effects to his instrument to enhance to overall style. As the song builds, more electronic/synth instruments are added, and by the end the tempo has sped up to a more upbeat pace. What started as a psy-dub track ends as an upbeat almost psy-trance anthem accompanied by chanting group vocals. Highly recommended.

A New Way to Say 'Hooray!' :: I mentioned this track above, and it is another personal favorite. It is difficult to try to explain what's going on in a Shpongle song because so much is happening, and I can't always tell what all instruments or sounds are being used. As with most of their other tracks, A New Way to Say 'Hooray!' incorporates a dub-style bassline with dramatic chanting vocals and other synthesized melodies. What makes this song a little different are the various samples from Terence McKenna, which are all about psychedelics (and are fittingly distorted with effects). Makes you feel like your mind is expanding, even if you aren't tripping...