Nosaj Thing je Jason Chung.
Kažu da radi eterični hip-hop, ali hip-hop je bio samo mladalačko nadahnuće. Ovo je prije Burial ispran hladnom vodom s poluruševnih zidova.
streaming
Drift (full album):
Nosaj Thing is
Jason Chung, a 24-year-old producer from California with loose ties to
Flying Lotus and the L.A. glitch-hop scene. His gorgeously haunted
debut Drift makes it clear that while he shares a lot with Flying
Lotus-- a base of operations, like-minded compatriots, a deep love of
hip-hop and a thousand strains of electronic music-- they're pretty far
apart in terms of approach. Spatially speaking, Flying Lotus' music is
like a cluttered studio apartment overflowing with interesting
bric-a-brac-- hip-hop records, comics, pieces of modern art. Chung's
music, meanwhile, is spacious and reverberant, every element echoing
into the emptiness surrounding it. Drift came out on Alpha Pup, the
label run by underground hip-hop producer Daddy Kev, and Nosaj Thing
produced tracks on Busdriver's latest record, but Drift has little of
anything that might be recognized as "hip-hop" on it, none of Flying
Lotus' breakbeats or his analog-tape warmth. From a mood point of view,
its gloomy beatscapes have a lot more in common with the bass-heavy
London dubstep scene than anything his fellow L.A. laptop nerds are
doing.
Drift's dubstep influence is immediately apparent in the chilly minor-key synths and fractured, ghostly drum programming of "Us" and "Fog", which evokes Burial. Chung has a similar flair for atmospherics and fondness for dank spaces; the drum sounds on "IOIO" resemble both the dripping of leaky pipes and swarming, squeaking rats. He also shares a firm belief that great drum sounds come from everywhere. On "1685/Bach", for instance, they come from the peeling of masking tape and jingling change.
This magpie ear for odd, leftfield sounds is Drift's most explicit link to glitch-hop. The endlessly pinging synthesizer on "Light #1" seems to careen off every available surface, while it's companion "Light #2" builds from a prism of Tron-like laser blurts. Chung clearly relishes a good rug-pulling, and he plays a thousand little tricks on your senses throughout the record-- breathing sounds fluttering high in the mix, echoing, hall-of-mirrors synthesizers. Occasionally, things get a little too lava-lamp; I wouldn't want to listen to "Coat of Arms" while stoned, as I think the halting strobe-light effect might make me seasick.
Chung is clearly also fascinated by darkness and impenetrability, and Drift is filled with nighttime sounds. The brief moments of light, when they penetrate, feel slightly unreal; the woozy major chords of "2222" sound submerged, an impression reinforced by the sucking sounds surrounding them, similar to the noises you hear in your ears as you swim for the surface of a pool. At the two-minute mark in "Light #1" synths streak across the track like shafts of sunlight, and on "Lords", the final track, we're surprised by the late entrance of a rarely heard sound on the LP-- harmonized human voices, relatively untouched by filtering and effects, cooing wordlessly. It's a last dose of cold water to the face on a record full of such moments. There are sonic Easter Eggs for a thousand listens here, and it would take six pairs of headphones and an equal number of high-grade strains of weed to track them all down. Happy hunting. - Jayson Greene
Drift's dubstep influence is immediately apparent in the chilly minor-key synths and fractured, ghostly drum programming of "Us" and "Fog", which evokes Burial. Chung has a similar flair for atmospherics and fondness for dank spaces; the drum sounds on "IOIO" resemble both the dripping of leaky pipes and swarming, squeaking rats. He also shares a firm belief that great drum sounds come from everywhere. On "1685/Bach", for instance, they come from the peeling of masking tape and jingling change.
This magpie ear for odd, leftfield sounds is Drift's most explicit link to glitch-hop. The endlessly pinging synthesizer on "Light #1" seems to careen off every available surface, while it's companion "Light #2" builds from a prism of Tron-like laser blurts. Chung clearly relishes a good rug-pulling, and he plays a thousand little tricks on your senses throughout the record-- breathing sounds fluttering high in the mix, echoing, hall-of-mirrors synthesizers. Occasionally, things get a little too lava-lamp; I wouldn't want to listen to "Coat of Arms" while stoned, as I think the halting strobe-light effect might make me seasick.
Chung is clearly also fascinated by darkness and impenetrability, and Drift is filled with nighttime sounds. The brief moments of light, when they penetrate, feel slightly unreal; the woozy major chords of "2222" sound submerged, an impression reinforced by the sucking sounds surrounding them, similar to the noises you hear in your ears as you swim for the surface of a pool. At the two-minute mark in "Light #1" synths streak across the track like shafts of sunlight, and on "Lords", the final track, we're surprised by the late entrance of a rarely heard sound on the LP-- harmonized human voices, relatively untouched by filtering and effects, cooing wordlessly. It's a last dose of cold water to the face on a record full of such moments. There are sonic Easter Eggs for a thousand listens here, and it would take six pairs of headphones and an equal number of high-grade strains of weed to track them all down. Happy hunting. - Jayson Greene
The LA Collection: Number Two 7" Single - 2010
Sold Out
1. Nightcrawler
1. Heart Entire
2. 3rd Complex
3. DISTRO
4. Aquarium
5. Phase II
Nosaj Thing Remixes - 2006-2012
Philip Glass - Knee 1 (Nosaj Thing Remix)
Charlotte Gainsbourg & Beck - Heaven Can Wait (Nosaj Thing Remix)
Malachai - Let Em' Fall (Nosaj Thing Remix)
The xx - Islands (Nosaj Thing Remix)
Flying Lotus - Camel (Nosaj Thing Remix)
Boris - Buzz In (Nosaj Thing Remix)
HEALTH - Tabloid Sores (Nosaj Thing Remix)
Blank Blue - Eyes Closed (Nosaj Thing Remix)
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