I just keep coming back to this little three song EP and I finally realized why. So I wrote about it because more people need to get familiar with Project Pablo.
I haven’t listened to footwork this bracing since the first time I heard DJ Rashad.
That thought ran through my head mere minutes into this incredible set by DJ Paypal, the brief but incredibly energetic Sold Out. If you’re familiar with the Rashad and the wider genre at all, you’ll know how bold of a statement this is. The guy was the first genre superstar, and a true auteur. His sudden death in 2014 cast a pall over the relatively tight-knit community. Surprisingly, the first artist to step out of his shadow is not from Chicago but Berlin, Germany. Lacking a geographic one, Paypal still has a direction connection to the more well known artists: he met the rest of the famed Teklife crew, including DJ Spinn and Rashad, through a footwork Facebook group.
Here’s his debut album, Sold Out. It’s 37 minutes of light speed bliss that will have you hyperventilating.
I’m caught up, soaring over shattered landscapes on fast-foward, somewhere in the middle of second track Ahhhhhhh, when it hits me. I’m riding a crest of vertical samples, sharp points of horns and vocals, strung together with a piano solo, out of control and on my back. Hysterical. It’s the same inexorable rush that hits when you realize you’ve truly gotten carried away in the torrent of a great wild jazz tune. It’s that rare experience: behold! a gang of vital, angry, and independent pieces slam together in unthinkable clockwork precision. This sort of rollercoaster used to be conjured by the likes of Pharoah Sanders’ The Creator Has A Master Plan.
This album is another brick in the fortress of evidence that jazz never died; its simply outgrew its constrictive, recognizable forms. While it’s true that the fun stuff has seen a revival, thanks in no small part to artists like Kamasi Washington, reincarnating the structures of free jazz at its commercial peak, the real innovation is happening in unexpected ways. When DJ Rashad broke through half a decade ago, it wasn’t because he was the best, most skilled footwork artist. He brought visibility to the genre because he evolved it in unexpected ways, adding melodic hooks while setting the often rigidly hyperspeed template on its ear. He bent the known playbook. He played with our perception of time.
This is the exploratory heart of what makes the best free jazz so revelatory. It’s also what I’m hearing in a new album for the first time since Rashad died. Sold Out does more than stand on the shoulders of a great artist. The album earns my ecstatic response by leaping beyond, exploring past the horizons we’ve heard from Chicago so far.
If you google DJ Paypal, you might notice that he seems like a very private person, to put it lightly. “I just don’t want pictures of my face posted everywhere, I’m opting out,” he told Meaghan Garvey in an interview for Pitchfork. He hasn’t given out his real name and currently enjoys an anonymity previously only known by Burial. I admire his humility, and his deference to the original Chicago footwork community, but he’s got to know, deep down, how special his work is. Continuing in the same interview about Rashad, after describing the day he died, Paypal says, “his role is not going to be filled by anybody else. It can’t be. So we’re gonna work harder, because it’s not going to be easy.”
The album just dropped on November 13th, so I’m a little late but hopefully not before everyone’s made their best of the year lists. I’ve got a feeling this might make an appearance on mine. You can pick up the vinyl or digital version from the Bandcamp page.
Sometimes there’s no better way to discover music than aimlessly sliding through the dark dream of the internet.
One day at the office I was looking for something that I could drift to. I wanted a sound that stretched like taffy until it reached the horizon. I needed my surroundings blurred beyond recognition, smeared into the very fabric of reality. With 新しい日の誕生 (Birth of a New Day) by 2814, I found exactly what I was looking for.
This is hard to explain, but I promise that Elysia Crampton has recorded some of the most ecstatic and staggering music you’ll hear all year. There’s a deep spiritual undercurrent to her new album that elevates it far beyond mere conceptual music. This connects to my heart, my head, and my gut, rendering me speechless.
The album is only 30 minutes, but covers a galaxy of feeling that I’m feeling unprepared to describe this morning. Just listen if you want to hear something startling and beautiful.
This is fun and fantastic. Psychedelic, hypnagogic, sampledelic. As I said to a friend yesterday: It’s what I listened to when I was in an Ash Ra Tempel mood. Yet actually, thanks to the external memory I can see that I actually said, “I’m in an Ash Ra Tempel kinda mood but this fits perfectly. Even though it’s more like Avalanches.” So there’s that.
First: sorry I’ve been sort of quiet for a few weeks.
It’s true. This one pays far more than my prior occupation so it’s worth the being-busy-all-the-time aspect. However I have not – cannot – neglect music and thus always have something worth sharing with the world. Every commute, every bicycle ride, every nighttime book devouring session is accompanied by something new, expansive, exciting… punctuated by old favorites I find myself doubled over with joy upon re-hearing. So I’ve got something to say.
Unfortunately I worked my brains out today and must save the in-depth breathless praise and wild exhortations to purchase vinyl for the remainder of the weekend. I will simply state that there are a few albums I’m quite taken with, continually listen to, and wish that more people would get familiar with. These are a few of them:
United Waters – Your First Ever River
Sensations’ Fix – Fragments of Light
Robert Fripp – Let The Power Fall
Fleetwood Mac – Tusk
Drive (Original Motion Picture Soundtrack)
Thundercat – Golden Age of the Apocalypse
and finally, with apologies to the artist herself:
Matana Roberts – Coin Coin Chapter One: Gens De Colour Libres
Because this is, by some distance, one of the most powerful and heartfelt albums of 2011 and I really should have shared all about it when I got it months ago. I promise – I swear – I will soon. Keep an eye on this page, and stay ready for the deluge.
Since I actually sought this out on tv and stayed up to watch it, AND it turned out to be more than worth the time and effort, sharing seemed to be on order. It’s Tyler, The Creator and Hodgy Beats of OFWGKTA.
So check this out and enjoy it as I have. Several times already. A few highlights: Their insane energy and enthusiasm. Tyler getting away with wearing the upside-down cross ski mask. The song itself, fucking great even when edited. The J-horror girl standing there doing nothing. The gnome. Felicia Day warily shouting “WOLF!” And of course the perma-grin final few seconds in which Jimmy Fallon carries Tyler piggyback, and a (possibly inebriated?) Mos Def shouts “SWAG, SWAG, SWAG!”