Lead photo by Stefania Antonucci, courtesy of Negashi Armada
When I 1st arrived in LA a year or so ago, I was heartbroken, angry, and in a genuine weak self-victimization mental schedule. New York, my preceding dwelling, exacerbates this sort of self view — from the gender fluid SJW wave, all the way to the Proud Boy pubster who says “PC culture is our largest difficulty.” Everybody in New York consider they’re the protagonist of the city. On the way out of town, even so, my buddy Emil Bognar — formerly of Dawn of Humans and numerous other punk and movement-oriented projects — told me about two words that changed my partnership with music and helped with strengthening my mental: “DUNGEON SYNTH.”
From my understanding, Dungeon Synth is an offshoot of Norwegian Black Metal. They’re fairly substantially the very same sort of music, but DS is extra keyboard- and sample-heavy. A lot of it sounds like trap and horrorcore riffs with minimal drums. YOUTH OF THE Globe: IT IS Incredibly RIPE FOR SAMPLING.
In this week’s edition of my column Negashi’s Nugs, I’ve featured an album that you could describe as “Finnish Old College Dungeon Synth.” When I was weak and fragile heartworm, I would do a crazy Rambo-style prison exercise to this record of pure fiery triumph. Supposedly, it is all Tolkien inspired, but I do not know something about that mainly because I’m not lame…  mostly kidding, I just by no means study that stuff. But if you fancy your self on any sort of heroic journey or redemption ascent/descent cycle, this will pull you out of Gehenna.
I really like imagining what sort of freak grandma’s boy was in the basement creating this music. Most likely enjoys his enviable Scandinavian livable wage even though playing Altered Beasts or Dungeons and Dragons in in between seshes on his casio keys. Anyway, let’s get into my random, not-timely culture picks of the week.
“The Arrival of the Dragonlord”
Standout Tracks: “The Moonpath” “Luthien” “Roads Go Ever On”
See the intro above for why I consider this is fire.
“Tchon Di Morgado”
By Os Tubaroes
The cinema often delivers me with a sense of freedom or grounding based on what I’m seeking for at the time. A couple of years ago, even though on a Youtube cult-film trailer binge, I stumbled upon Portuguese powerhouse Auteur Pedro Costa. His most-discussed perform is this trilogy about a Cape Verde immigrant neighborhood with a physical center comprised of this a single government housing project. The films relentlessly strike emotional cords, regardless of what usually feels like a sloppy documentary style. Not to mention, the Dutch Master painting-seeking cinematography, which genuinely ups the dignity side of the project’s beauty.
The use of music is pretty minimal in these films, and seldom is there ever non-diegetic sound. When Costa does consist of a song, and it is normally about a single per film, you far better spend interest mainly because it is a heavily regarded option with regards to reinforcing the film’s globe and central tips.
In the second portion of the trilogy, In Vanda’s Space (2000), you hear a muffled version of “I’ve Got the Power” burrowing by way of the walls as the two leads smoke what appears like some sort of crack spin-off. So why is this poignant to me? Since “I’ve Got the Energy,” in all of its electrical energy and mania, has often seemed like the ultimate crackhead song. This certain song above, even so, is extra on the uplifting-beauty-dignity finish of the spectrum. I 1st encountered the music of the conventional Cape Verdean band Os Tubaroes (or “The Sharks”!) in the trailer for Colossal Youth (2006). This is “past life worker solidarity fantasy psych soul” for dreamers.
“Where You From?”
By Rick Ross, Featuring Project Pat
Rick Ross is a good rapper. At his peak, he was the master of ghetto messianic sloganeering. Get in touch with him a youngster of Tupac, Master P, and Nas. Also, Scarface and Farrakhan and Ric Flair. Aspirational stunt music. And when he was fucking with Lex Luger, he had the entire hood in tune. Monster Truck Income Counter Music. He straddles a niche line of mature, stately, don-like grace and young hot n***a regressive chaos. I imply that he’s often pushing large image projects to a multi-millionaire’s point of view, but he complicates it with stress cooker I.E.D. anti-joiner, goon-headed, distilled ignorance.
One particular could also extol his rap all-star curation skills. Rick Ross is like a rap fan fiction writer when it comes to pulling out obscure or underused characters. A lot of my pals often text me to ask about “Where You From?” which is a specifically dark royal procession of evil ballers-form track. It is so aggressive and Rick sounds particularly grated and raw. It is pretty much as if the song is so intense that no one’s brain desires to hold it in and try to remember the title mainly because it is so evil. But there is a location and time for it. It will assistance you uncover strength in attempting moments, but you cannot abuse it. This song is a great song that is undesirable for you.
“My Ghetto Heroes”
By Master P
In the ‘90s, Afrocentrism was front and center of mainstream Black American life. This was evidenced by usually somewhat flat representations of the “Conscious Pan Africanist-five%’er-Nation of Islam” archetype in numerous hood classic films, “urban” sitcoms, and even a broad profitable lane of rap music. I was raised beneath a loving warm Black Sun. Taharqa, Mansa Musa, Nzinga, El Hajj Malik Shabazz, Assata Shakur have been my childhood heroes (apart from Havok, Bishop, Gambit, and Roberto Dacosta). Nevertheless, at an early age, I wrestled with a divide in between what people today these days refer to as “woke” Black people today and “regular” Black people today. Due to me obtaining a family members from New York in Atlanta — and my speaking some thing extra akin to regular English on Parkway in 4th Ward, or Club Candlewood in College Park — I would get joned/roasted/ostracized. Hunting back although, at times I was getting the form of nerdy asshole kid who corrected people’s grammar.
As an older man who’s slightly somewhat extra anarchist (I’m a capitalist centrist IRL), I uncover “Respectability Politics” to be an insidious tool of division, oppression, and silence. Frantz Fanon often stated listen to the people today do not come at them expecting to repair their troubles, but rather to listen and perform with each other. Mom often says, “never be scared of your personal people today.” But of course all items in moderation. Or rather, “maintain preparation for dynamic responses to altering circumstances in a five-D Mandela Impact Globe!”
Master P ruled my late elementary college years ahead of passing the torch to Money Income in a pre-southern-rap-complete-spectrum-dominance globe. My bro Mickey as soon as stated to me that a genuinely cool by-solution of the media frenzy about celebrities’ troubles with abuse, predation, and exploitation is potentially a generation will come about that does not assume efficacy in a single capacity — like creating great art — equals human worth or internal merit. Master P eschews veneration of athletes, corporate figures, and celebrities in favor of hustlers and gangsters who uphold the codes relevant to P’s inventive and literal universe. He cannot speak on all the things everyone is up to, but there are strong ancestors in the street ahead of him that place the star higher. It is also genuinely spooky that he shouts out an additional Mike Brown in this song.
~~~ by ana roxanne
“I’m Every single Sparkly Woman”
By Ana Roxanne
The position of gratitude is a position of strength. There’s a yiddish proverb about how paradise with a fool can be worse than hell with a sensible a single. An applicable notion, if ever, particularly in the realm of interfacing with culture (I favor that phrase, compared to “consuming art/music”). Ana Roxanne, who I’ve encountered in a myriad of contexts — as she is actually my roommate’s greatest buddy — is an instance of a gem hidden in plain sight. Ana often kept it short with a cautious airy stoicism that would encapsulate me in a field of “I far better respectfully hold it moving.” I lately had the pleasure of catching her set at the release celebration for her new self titled EP on Leaving Records. Her voice is like maternal primordial water from space, and the minimal-but-ripe energy of her music has completely imposed itself on my feelings. From what I’ve seasoned, Ana’s style appears to represent that of a Biblical Proportion Progressive Pop Diva. If Ariana Grande is the highest components of Mariah Carey (but sustained and often demanding funds for her “emotional labor”) then Ana is like an angel whose physique is trapped in a minaret synthesizing Whitney Houston’s heartbreak, Madonna’s uncommon reverent moments, and Anita Baker’s gleeful human saxophone esophageal handle. Collectively, Ana Roxanne soars by way of greater realms that exist in us all.
“Kiss It Better”
There is only a single Queen, and it ain’t Nicki or Beyonce. I drew the image beneath mainly because of this Rihanna song (back when it came out, of course). That is ideal, even Edge-Deity Lo Fi Dungeon Synth Seinen Freaks get in their #Simple human feelings at times.
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