Idle Moments w/ Eradj Yakubov
King Georg Klubbar meets Dublab. Die DJ-Sets unserer Reihe.
»Diese Auswahl an Musik ist entstanden aus der Erfahrung der Durchlese von ›More Brilliant Than The Sun‹, einem faszinierenden, radikalen und kompromisslos afrofuturistischen Werk der britische Kritiker, Theoretiker und Filmemacher Kodwo Eshun.
Ich bin vor über einem Jahrzehnt auf das Buch gestoßen, motiviert durch ein aufkeimendes Interesse an Jungle und Bassmusik und den Arbeiten von Eshuns Kohorte (Simon Reynolds, Mark Fisher); seine Studien über Black Music und die Arbeit daran, die sonischen, historischen und politischen Beziehungen zwischen Jazz, Hip-Hop, Techno, Jungle und mehr herauszuarbeiten, hatten eine prägende Wirkung darauf, wie ich diese Musiken sehe.« (Eradj Yakubov)
Tracklist + Buchzitate
George Russell – Electronic Sonata for Souls Loved b
»The 2 versions of composer George Russell’s Electronic Sonata for Souls Loved by Nature, from ’68 and ’80, are auditions of jazz augmented for the unknown hazards of inner space. In the Cybernetic Age, jazz must move through the centre of the cyclone, implode and be reassembled as electromagnetic dub. Instead of invoking jazz as an art, a beautiful soul which defies the military industrial complex, Russell technologizes jazz until it becomes an art-industrial complex«
Sun Ra And His Myth Science Arkestra – Celestial FantasyRahsaan Roland Kirk – Volunteered SlaverySun Ra And His Myth Science Arkestra – When Angels Speak Of LoveMiles Davis – Pangaea (Excerpt)Sun Ra – Moon Dance
Roland Kirk – Blacknuss
»…Black Atlantic Futurism. Whether it’s the Afro Futurist concrete of George Russell and Roland Kirk, the Jazz Fission of Teo Macero and Miles Davis, the World 4 Electronics of Sun Ra and Herbie Hancock, the Astro Jazz of Alice Coltrane and Pharoah Sanders, the cosmophonic HipHop of Dr Octagon and Ultramagnetic MCs, the post-HipHop of The Jungle Brothers and Tricky, the Spectral Dub of Scientist and Lee Perry, the offworld Electro of Haashim and Ryuichi Sakamoto, the despotic Acid of Bam Bam and Phuture, the sinister phonoseduction of Parliament’s Star Child, the hyperrhythmic psychedelia of Rob Playford and Goldie, 4 Hero and A Guy Called Gerald, Sonic Futurism always adopts a cruel, despotic, amoral attitude towards the human species.«
Herbie Hancock – NobuUnderground Resistance – Amazon
Sun Ra And His Myth Science Arkestra – Next Stop Mars
»Traditionally, the music of the future is always beatless. To be futuristic is to jettison rhythm . The beat is the ballast which prevents escape velocity, which stops music breaking beyond the event horizon. The music of the future is weightless, transcendent, neatly converging with online disembodiment. Holst’s Planet Suite as used in Kubrick’s 2001, Eno ‘s Apollo soundtrack, Vangel’s Blade Runner soundtrack: all these are good records – but sonically speaking, they’re as futuristic as the Titanic, nothing but updated examples of an 18th C sublime.«
Miles Davis – Rated XJungle Brothers – Blahbludify4 Hero – Terraforming4 Hero – Wrinkles In TimeRoni Size – DownGoldie – Sea Of Tears Part 24 Hero – Mr. Kirk’s NightmareDJ Hype & The Ganja Kru – Super Sharp Shooter (DJ Zinc)
Mark One – Stargate 92
»To talk of the ‘future of computer music’ immediately presumes an academic composer-scientist locked into a prewar model of top-down official science. But Breakbeat science is the runaway future of computer music, in which alphanumerical sound escapes from the lab, replicating across bedroom studios in a series of covert operations. Breakbeat science is the secret technology of gene-splicing sound, the unofficial science of rhythmhacking the break until it becomes a passage into the drumtrip and the drumtrick, an escalation of rhythmic timbreffects. As Dego McFarlane of 4 Hero explains: ‘You end up with a sound that’s like a 6th-generation sample, completely different to what you started with.«
Loefah – Jazz LickSun Ra And His Myth Science Arkestra – The Idea Of It AllGeorge Russell – Electronic Sonata for Souls Loved by Nature (Excerpt)