1. Intro

2. Dominator

3. Change the Channel

4. Run It

5. Go

6. Simple Degradation (Plucks 1-13) \[with Bitpanic]

7. Code

8. Dodger

9. Malleus (feat. Tia Nomore)

10. Keep Pushing

11. "From Bright Bodies" (Interlude)

12. Mood Organ

13. Polaroids

14. Simple Degradation (Plucks 14-18) \[with Bitpanic]

15. Madcap

16. Mirrorshades pt. 2 (feat. Cartel Madras)

17. "And You Called" (Interlude)

18. Welcome Home Warrior (feat. Aesop Rock)

19. Ask What Happened

Description by Roy Christopher from BandCamp:

> Because of their mix of hellified gangster shit and progressive compositions, I once jokingly called Clipping “Deathrow Tull.” Well, it’s not a joke anymore. While their last few projects have been record-long concepts like the classic prog rock of old, Dead Channel Sky is mixtape-like, a carefully curated collection of songs in which every track is a love letter to a possible present. Like a mashup of distinct elements, the overall concept is there, but the result is brief glimpses into a world rather than an overview of it. It sounds crisp and classic at the same time. When something strikes us as retrospective and futuristic at the same time, it’s a reminder of how slipshod our present moment truly is. > > In my book Dead Precedents: How Hip-Hop Defines the Future, I draw what Walter Benjamin would call correspondences between early hip-hop culture and cyberpunk literature, the binary stars of the solar system at the end of the millennium. I exploit their similarities to illustrate how the cultural practices of hip-hop have informed the cultural practices of the now. Hip-hop was borne of the post-apocalyptic scene in the South Bronx in the early 1970s. Its repurposing of outmoded technology, the hand-styled hieroglyphic screennames on every colorfast surface, and the gyrating dance moves—an entire culture forged from the freshest of what was available at hand—mirrors the post-apocalyptic techno-scrounge of William Gibson’s Neuromancer, Rudy Rucker’s Software, and other early works by the contributors to Bruce Sterling’s Mirrorshades anthology (Pat Cadigan, John Shirley, Lewis Shiner, and Sterling himself, among others). Add the leather-clad mohawks of Afrika Bambaataa and the Soulsonic Force or Rammellzee’s B-boy battle armor and a blend of the two comes further into focus. > > Juxtaposing high-tech, corporate command-and-control systems (the “cyber”) with the lo-fi, D.I.Y. underground (the “punk”), cyberpunk proper starts in 1982 and ends in 1999, from Blade Runner to The Matrix. There are works before and works since that embody the visions and values of cyberpunk, but these dates act as rough parameters for their assimilation into the larger social sphere, for the time it took cyberpunk to become cyberculture. In the meantime, hip-hop matured, went through its Golden Era, then melted into further forms. Over the same decades, it went from “Planet Rock” to “Bring da Ruckus” to “Hard Knock Life,” from Fab 5 Freddy to Public Enemy to Missy Elliott, from Run-DMC to N.W\.A. to Notorious B.I.G. While other genres flirted with it, hip-hop was fickle and fey. Any tryst with the odd bedfellow was a one-night stand at best. Rap and rock birthed mutant offspring maligned by most, and hip-hop’s relations with electronica rarely fared any better. > > Those twin suns—hip-hop and cyberpunk—both rose in the 1970s and warmed the wider world during the 1980s and 1990s. What if someone explicitly merged them into one set and sound? After all, both movements are the result of hacking the haunted leftovers of a war-torn culture that’s long since moved on. > > On Dead Channel Sky, Clipping texture-map the twin histories of hip-hop and cyberpunk onto an alternate present where Rammellzee and Bambaataa are the superheroes of old; where Cybotron and Mantronix are the reigning legends; where Egyptian Lover and Freestyle, are debated endlessly, and Ultramag and Public Enemy are the undeniable forefathers; where the lost movements of 1980s and the 1990s are still happening: rave, trip-hop, hip-house, acid house, drum & bass, big beat—the detritus of a different timeline, the survivors of armed audio warfare. That war at thirty-three and a third, its atrocities imprinted upon yet another generation, what someone once called, “the presence of the significance of things” without a hint of ambiguity. > > Clipping are very story oriented. They deal in ontology and narrative as much as beats and rhymes. They’ve been approaching making music like writing science fiction since the band’s conception. Two of their records have been nominated for Hugo Awards (one of science fiction’s top literary prizes), and a novella spun-off from their music was nominated for a third. As Clipping, they’ve collaborated with as many of their fellow experimental noise artists as they have fellow rappers. Here those co-conspirators include everyone from the guitarist Nels Cline on the outro to “Dodger” (titled “Malleus”) to their labelmates Cartel Madras on “Mirrorshades, pt. 2,” rapper/actor Tia Nomore on “Scams,”as well the wordy wordsmith Aesop Rock on “Welcome Home Warrior.” Diggs is known for intricate lyrics and rapid-fire rapping, and the tracks that Snipes and Hutson build in the background are no less complex. On “Code,” they sample narrated memories from the Afrofuturist documentary The Last Angel of History; and on “Dominator,” they repurpose a line from the classic Dutch hardcore track “Dominator” by Human Resource. All of the above serves to give us a glimpse of an adjacent possible present, where hip-hop and cyberpunk are one culture. > > Binary stars are often perceived as one object when viewed with the naked eye. Like those twin sun systems, it’ll take some special equipment and some discerning attention to pull the stars apart on this record. As Diggs barks on the fire-starting “Change the Channel”: Everything is very important!

Hello,

Has anyone has seen a rip or copy of the Thes One Live Memorial that he did for Double K when he died?

It seems the original youtube video got copyright striked by Vine-P whatever that is and I can't find any legit copy anywhere or else I would buy it.

It was very emotional and though the audio can be found on soundcloud here: https://soundcloud.com/peopleunderthestairs/mikey watching Thes mix and the emotion is special.

Please let me know if anyone has a copy floating around I would love to watch it again.

cross-posted from: https://lemmy.world/post/19211008

> >A police state is one in which the government exercises rigid and repressive controls over the social, economic, and political life of the population. A police state typically exhibits elements of totalitarianism and social control, and there is usually little or no distinction between the law and the exercise of political power by the executive. (Wikipedia) > > >In their politically-conscious style of hip-hop, Dead Prez repeatedly call attention to the way in which Black America exists in a police state within mainstream US society. From the School to Prison-Pipeline, to the War on Drugs, to Prison Industrial Complex, to the stripping of certain rights or welfares for the formerly incarcerated, the lives of Black Americans are restricted and exploited through US government policies. In this song, they call for a violent but justified revolution against this systematic oppression.^[[1] https://genius.com/Dead-prez-police-state-lyrics] > > --- > > >In the world of music, there are certain tracks that not only entertain but also challenge societal norms, provoke thought, and elicit a range of emotions. One such track is “Police State” by Dead Prez, a powerful hip-hop duo known for their socially conscious lyrics. Released in 2000, this politically charged song explores the concept of a society dominated by oppressive law enforcement and highlights the struggles faced by marginalized communities. With its raw authenticity and thought-provoking messages, “Police State” has become an anthem for those seeking to address the issues of systemic racism and police brutality.^[[2] https://beatcrave.com/the-meaning-behind-the-song-police-state-by-dead-prez/] > > --- > > Lyrics^[[3] https://songmeanings.com/songs/view/83752/] >

cross-posted from: https://lemmy.world/post/17607188

> >Released in collaboration with Bold Stories, this track serves a successor to the revered Long Live Palestine trilogy. > > >Throughout the song, Lowkey reflects on the military siege that Gaza has faced in recent months and shares critical thoughts on his place in music. > > https://genius.com/Lowkey-palestine-will-never-die-lyrics

cross-posted from: https://lemmy.world/post/17606738

> Alt. link: MACKLEMORE - HIND'S HALL (AUDIO ONLY) [02:48] https://youtu.be/wmg6vbt04TY > > --- > > >“HIND’S HALL” was released by Macklemore through social media on 6 May 2024. > > >The track broadly addresses the State of Israel’s attack on Palestinians in Gaza which began in October 2023. The attack, which has caused tens of thousands of casualties, overwhelmingly civilian, has been widely characterised as genocidal, including as plausibly amounting to genocide by the ruling of the International Court of Justice in South Africa v Israel. > > >More narrowly, the track addresses the 2024 encampment movement which took shape around the world in protest of other states' response, or lack of response, to the Israeli attack. Macklemore, who is based in the United States, particularly criticises US institutions' coercive, brute-force, often militarised response to student protesters using their (nominally) guaranteed rights to free speech. > > >The song is named in reference to Hind’s Hall, a building at Columbia University in Manhattan, more commonly known as Hamilton Hall, prior to its takeover by student protesters. The building was named in reference to Hind Rajab, a 6-year-old Palestinian girl murdered by Israeli occupation forces. Hind’s fate is known because the civilian car she was riding in was disabled by an Israeli tank, killing most of her family and injuring her, whereupon her cousin placed a call to Palestinian emergency services crying and begging for help before also being killed. Hind subsequently spent three hours on call with Palestinian emergency services, allowing an ambulance to be dispatched and reach her. Upon its arrival, that ambulance was destroyed, and its crew and Hind were murdered, by the same or another Israeli tank. > > >Hind’s call was leaked online and instantly became a focus of widespread notoriety due to the cold, calculated nature of her and her family’s murder — Hind and her cousin’s calls and evidence from the scene consistently indicate Israeli forces were in the immediate vicinity and in visual range at the time of each killing, meaning there is no reasonable chance the Israeli tank crews did not fully realise what they had done. Moreover, the Israeli tank destroyed the ambulance after Israeli forces had provided the Palestinian Red Crescent Society and Gaza Health Ministry with a “guarantee” of safe passage and the ambulance had proceeded along a route laid out for that purpose. In addition, after the killing, Israeli spokespeople chose to lie about it and attempt to cover it up. > > >The song also features a sample from “Ana La Habibi”, by legendary Lebanese Arab singer Fairuz, to fit the theme of making a song for Palestine. Fairuz has also been vocal in her support for Palestine over the course of career with the album Jerusalem in my Heart, featuring the single “Zahrat al Madaen”, which became a pan-Arab anthem, releasing only two weeks after the 1967 Six-Day War. > > https://genius.com/Macklemore-hinds-hall-lyrics

cross-posted from: https://lemmy.world/post/11575589

> title edit: & -> and > edit2: added lyrics link > > https://genius.com/Killer-mike-and-andre-3000-scientists-and-engineers-lyrics

cross-posted from: https://lemmy.world/post/1146455

> - Bear. - Sand Dunes Bandcamp > - Tonedeff - Deffinitions Vol. 4 Bandcamp > - Speaker Bullies - Art of Disrespect Bandcamp > - Chino XL & Stu Bangas - Gods Carpenter Bandcamp > - Dom Pachino - War's Never Pretty Apple Music Spotify Bandcamp > - K!MMORTAL - Shoebox Bandcamp > - Mega Ran - Mega Ran Mondays, Vol 3 Bandcamp > - Rico Bellynelli - The Sydney Dean Saga Bandcamp > - The Blacc Market - Bad Karma Bandcamp > - Shabazz The Disciple - Celestial Souljahz Bandcamp > - Amerigo Gazaway - City Hop Bandcamp > - Vega7 The Ronin & Superior - Sleep Is The Cousin Bandcamp > - Stu Bangas - God's Carpenter Bandcamp > - Video Dave + Controller 7 - ArticulatedTexTiles Bandcamp > - The Deli & Zan - Shonen Bandcamp > - 2 Mello - PHD - Portable Headphone Dancefloor Bandcamp > - Spade - Last of a Dying Breed Vol. I Bandcamp > - Rome Streetz x Thelonious Coltrane - Saint Pusherburg Bandcamp > - KenicRay x Burnt Bakarak - '84 Cutlass Supreme Bandcamp > - Dutch of Gotham - You Owe Me 2 Bandcamp > - Bub Styles & MichaelAngelo - Behold the Andean Condor Apple Music Spotify > - Le Mietz x Jay Baez - Schwarz​-​Weiß Apple Music Spotify Bandcamp > - Ruffian Rugged & Dumanoid - For the Record Apple Music Spotify Bandcamp > - ILLtemper & Beatahoe - SuiCider EP Spotify Bandcamp > - Ja'king the Divine & Javi Darko - Fear & Loathing In Long Island Apple Music Spotify > - AJ Suede - Ark Flashington Apple Music Spotify Bandcamp > - Conway the Machine - Conway the Machine Presents: Drumwork the Album Apple Music Spotify > - Nef - Analog Living Apple Music > - Lobe & Delicasteez - The Arc'ytect Apple Music Spotify > - Primo JAB & Hobgoblin - Jabgoblin Apple Music Spotify > - Shottie - Death Occurred Last Night Bandcamp > - Rauw Alejandro - Playa Saturno Apple Music Spotify > - Dominic Fike - Sunburn Apple Music > - LUCKI - Sex Money Drugs Apple Music Spotify > - Grip - Still Spotify > - Tree & Vic Spencer - Something Is Not Apple Music Spotify Bandcamp > - Babyxsosa - Bling Bling Apple Music Spotify > - Big Sad 1900 & Gas Gang Saint - Shady Heights Apple Music Spotify > - Osbe Chill, Dough Networkz & Elcamino - Los Ultimos: Apple Music, Spotify > - R3 Da Chilliman & RONRONTHEPRODUCER - The Icons: Apple Music, Spotify > - Robb Bank$ - I Dnt txt back, I Dnt call: Apple Music, Spotify > - Lerics Dalyricist - Humble Horizon: Spotify, Bandcamp > - D-Block Europe - DBE World: Apple Music, Spotify > - Reese LAFLARE & DJ Drama - Diva Vol. 4: Apple Music, Spotify > - A$AP Twelvyy - Kid$ Gotta Eat: Apple Music, Spotify > - Philthy Rich - FEDERAL INDICTMENT: Apple Music, Spotify > - Gula - SOL SALE: Apple Music, Spotify > - Mantis the Miasma & LUNAR - You've Met With a Terrible Fate...: Apple Music, Spotify, Bandcamp > - C Y G N - Astrovibes: Apple Music, Spotify, Bandcamp > - Big Dese x Mike Martinez - Lincoln Hawk: Apple Music, Spotify, Bandcamp > - Cyrus Da Zine - What's The Story?: Apple Music, Spotify, Bandcamp > - Lord Jah-Monte Ogbon - I've Really Never Been Better: Apple Music, Spotify > - Cvban Pete and BoFaat - The Year Of The Rabbit: Spotify, Bandcamp > > > > > >

I'm not asking about your "mumble crappers" or whatever annoying people call them now. I'm talking about the verses your friend puts on for you and you think it's a joke.

The obvious pick modern day is Tom McDonald, but I feel like that's cheating so I'm taking another classic. YBN Nahmir is fucking awful, and I don't understand how Rubbing Off The Paint took off. Shit sounds like MS Paint: The Beat. If I wanted to listen to a dollar store keyboard, I would go play with my kid. However the top of this pile of shit has to be Soul Train where Nahmir decides to channel his inner IceJJFish for a track. Uzi may have super questionable lyrics, but he can usually put together a catchy song. I don't know who the fuck Soul Train was for, nobody would think those vocals are good.