Curren$y- Drive In Theatre
Curren$y has delivered yet another free offering for his applauding and grateful following. It seems clear in my mind that you could make a watertight case that his output and quality has become near impossible to rival. Unsurprisingly and deservedly so, Spitta is renowned for his dedication, tight rhymes and smooth flows. We’ve seen in more recent times other artists like Gucci Mane try and replicate this quantity of tapes, but nobody quite matches up to the Jet Life boss.
It was business as usual for Drive In Theatre , a consistently created 14 tracks that is elevated with the smooth production of Theolonius Martin amongst others. Theolonius has undoubtedly paid tribute to Curren$y New Orleans roots, with the heavy influence of jazz that gently takes your hand and guides you through the tape. As for Spitta’s rhymes, he provides what his fans have come to expect; pop culture references including Cooley High, clever imagery and of course plenty of talk about weed and Chevy’s.
The most notable tracks include, ‘E.T’ which offers up soundscapes that are reminiscent of the heyday 90’s Hip Hop. The beat not only works for our main man, but finds B Real on top his game, sounding just at home. The ambient vibes of the opening track ‘Drive In Theatre’ really set the tone for the tape and is quite cinematic in its ensemble. Whilst ‘El Camino’ see’s up and comer DJ Kariu formulate a faster-paced, bouncy track that has shades of Ski Beatz ‘Life Under The Scope’. There are also features from Queen’s spitter Action Bronson and fellow Jet Life man Smoke DZA that add another dimension to Curren$y mellow flow.
The promotion leading up to this, suggested it was the sequel to ‘New Jet City’, but in my eyes ‘Drive In Theatre’ stands alone as a project and is a highly enjoyable listening experience. Sound bites from famous gangster flicks are now a familiar piece of the furniture in a Curren$y tape, so make sure to listen in for some recognisable, atmospheric lines from ‘The Godfather’.
Cop it here today, http://www.datpiff.com/Curreny-The-Drive-In-Theatre-mixtape.578652.html
Real Scenes: Tokyo
"For our latest Real Scenes films, we journey to the Japanese capital to meet the DJs, promoters, campaigners and producers who have been affected by the Fueiho. We hear how a rapidly aging population and the negative public perception of nightclubs have meant that fighting for reform is just part of the problem. Despite these extraordinary challenges, Tokyo is home to passionate, dedicated dance music community, who have responded with campaign groups like Let’s DANCE, and the establishment of small, underground music spaces. There is a collective understanding that if they want to affect change it will have to come from within."
Sofia Coppola’s third and perhaps finest creation is currently celebrating ten years on our screens. Having recently revisited this modern day classic, I found that the film once again brought me under its unsuspecting charm, and marked a departure from the fleeting memories of a baffled 14 year old, watching it for the first time. A decade on the message remains highly relevant, bordering on eerie in the composition of today’s society. So much so, that it persuaded the capricious academy to hand her the best original screenplay that year.
The director’s background in cinema is forever being discussed, with constant and frankly unfair comparison to her father; the late, great Francis Ford Coppola. One of his best-known anecdotes refers to a vigorous 3 year-old Sofia interrupting fierce domestics with a shrill ‘cut’. Her directorial instincts clearly evident from a tender age, entering her sub-conscious via cinematic osmosis, never to abandon her.
Both Lost In Translation and Bling Ring were formed on the very foundations of her unique younger years split between spells at the Chateau Marmont in West Hollywood, and Japan where she was busy founding a fashion label (Milkfeed). Unsurprisingly, during this time Sofia laid her roots in Tokyo, and within a matter of months had discovered the neon lit path of Lost In Translation. In a recent interview with Vulture Magazine she spoke of her days languishing in the low lit corridors of the Grand Hyatt Hotel, where great parts of the film were consequently shot. In my opinion these two projects clearly affirm the notion that Sofia’s life experiences have been highly influential in her creative process.
Her depiction of Japan’s capital is captivating, and is certainly elevated by the fine work of cinematographer Lance Acord (Being John Malkovich, Buffalo 66, ). Under Coppola’s assured direction, Acord returned to his minimal roots, beautifully capturing the melancholy of Tokyo’s skyscraper-littered landscape, fully realizing its alienating potential. Like the movie, it’s never complicated nor convulted, but its honest and affecting. Both director and DoP ably make use of the city’s glassy environs, plumping Charlotte down in front of a window in her high-rise abode, and in a high-speed train dreamily gazing at pylons, lost in rumination. The marked contrast between the dark tones and pedestrian pace of the Grand Hyatt, and the high speed, neon lights of Tokyo help encapsulate the acute loneliness felt by Bob (Bill Murray) and Charlotte (Scarlett Johansson) in very different ways. Whether the leading characters are sheltered in the solace of their rooms or surrounded by an onrush of busying crowds, their forlorn demeanor doesn’t waver.
The central themes that are explored in Lost in Translation are not handicapped by the progression of time. These universal ideas of failed relationships and isolation are portrayed in a duality of comedy and heartbreak, gently taking your hand and guiding you through the personal struggles of Charlotte and Bob. However, it is my belief that the overarching tone and subtext of this picture is the cause of such problems; Coppola masterfully critiques faceless modernity and the breakdown of human contact, invariably choosing to show rather than tell. Tokyo is the perfect vehicle to quietly observe this, a contemporary floating world of fleeting pleasure that is too distant and amoral to facilitate meaningful relationships. In 2014, such notions are commonplace, hyperbolised even in urban society, as the all too familiar sight of eyes downcast focused upon a screen rather than a face, has quickly become synonymous with the fast paced city life that leaves very little time or room for courtesy and pleasantries. Describing this as a cautionary tale may be overstating it somewhat, but it undoubtedly raise the issue of diminishing human interaction, whether the person be young or old. This has become especially prevalent with the Hikkimon movement of native Japan, where over a million young people are characterized by their social angst, becoming withdrawn and remaining closeted in their homes. The majority have elected to lead a life that is dominated by virtual interaction, without a breath of human contact traceable.
This solace I talk of is wholeheartedly embodied by the lead characters; Charlotte an unhappy photography graduate who is coming to terms with her increasingly unfulfilling relationship, and the disillusioned Bob Harris, the proverbial washed up Hollywood star who is visiting Tokyo to shoot a whisky commercial. If handled differently the disparity in their ages may have been at best problematic, if not creepy. However, owing to a union of skilled direction and Bill Murray’s big kid persona, the relationship is curiously charming. The legendary actor’s does not seem to possess a lecherous bone in his body, and his contagious character clearly translates on screen because it is real. He is quoted to have regularly frog marched round their makeshift hotel room set with the housekeeper flung over his shoulder, singing lung fuelled outbursts, much to the delight of crew members and actors alike.
Despite the beautiful aesthetics and poignant soundtrack, it is ultimately the central relationship that the audience identified with, and gave this film the legs to rise up from an indie flick with a paltry budget of $4 million (pittance by the studio driven film market of today) to a global success that grossed over $120 million. The cultural significance of this picture should not be underestimated as it is breathing proof that you do not need to patronize your viewers with lowest common denominator dialogue, and predictable storylines in order to become a full blown popcorn, box-office hit.
10 years on, Bob’s whisper to Charlotte in the final scene may still be shrouded in mystery, and yet the message never seemed clearer.
Seasons Greetings! It’s the second month for our Facebook group for unsigned tracks, and the posts have been coming in from far and wide. Big thanks to everyone involved for their submissions and feedback, I hope all of you have been enjoying the music as much as we have! The high standard of postings has made writing this difficult, but here are our top 3 favourite tracks for December 2013.
Follow the link above to find an interesting article about Shazam.
The Amselcom Unsigned Tracks Chart is a platform for electronic music producers to promote their latest work and for music fans to hear fresh new material. We had a great start to this project and a hard time to select the best material from all submissions, but here is our top 3 : http://amselcom.de/top-unsigned-tracks-part-1
Big thanks to everyone to posted and to Aantigen, Uke and Klang Sauna for these wonderful tracks!
Help this platform and creative pool expand by spreading the word about this group to your music making friends: https://www.facebook.com/groups/amselcom
Artwork by Regina Kelaita