. issue XIII : ii .

by barathron

. artist : hieroglyphics .
. album : the kitchen .
. year : 2013 .
. label : hieroglyphics imperium .
. grade : usda prime .

What kinda David Copperfield cr-p am I gonna rack muckety mucking all over blister and peel, steal johnny come late nightly? I’ll probably call in a musical biosphere when a lyrical leer jet would be apt pamplamoosiate.

These musicians, all of them, serve an excellent model encompassing all field of patroned renaissance, mastering diversity of diversion, business included, where other similar franchises have travelled and fallen, disbanded or debted. Artistic collective are not often to achieve this depth of membership, certainly celebrity. I may as well call all of a band a quoted singular version of itself (Hootie and the many Blowfish almost exception, two dead Who vaudevillian), program language, line up, cast, usual suspects if’n ya reckon. Hieroglyphics, besides being a Smithsonian stamp set, has always comprised of Del the Funky Homosapien, Casual, Pep Love, Domino, and Souls of Mischief (Phesto, A-Plus, Opio, and Tajai).

Remaining kids trading verse over the complex beats of retro vidya, when bytes of sound were counted and under a hundred. In fact, my prefered soundtrack to spit any rhyme is the vamp of any eternal arcade soundtrack. The Croatoan Multicade was a simple quarter a credit: Pooyan, Zaxxon, Donkey Kong Foundry, BurgerTime, Mappy (CONNOR SEZS: Yeah, Isn’t New York Deli’s Multicade fifty cents? Them’s moneybags reserved for gun, vehicle simulation, and pad games), sequels and incarnations spanning country specific rereleases. Every single one of these beats was hand-crafted in 1978; I would be willing to believe Sleeprockers (the Sacramento DJs attaining credit) are audiophile time travelers who capsuled and sealed specific days of that year, distilled essence as the following tracklist for this album.

“The Kitchen Intro,” sampling outright John Witherspoon soundbytes, give an easy filmed television Kodachrome 1970’s filter already; “Gun Fever” ‘s ridiculously modern byte-counterpart (sampled soliloquy got silver for space) “Sunny” with Charlie, Dennis, and Mac are respectively May 28th and August 19th); “Livin’ It Up,” brassy June 23rd, and “The Mayor” samples some bluesy guitar riff, simple heavy snare of September 20th; expanding the {brass, strings, sampled} *section to the chorus (I love the brass, and the Solid Gold orchestra American grandstands, every manner of instrument used and found). “Indonesia,” July 12th, and “Wshores Galore” April 7th levels your face in a trill of strings (and a marimba?). “That Merch” ‘s decidedly eastern instrumental asks for late March, the 29th, and “Nutrition” s small sample of (interlude-ish, nice beats much like “Passing Fads” 70’s flair) is none other than December 23rd. “Nano Salts” Technology Server Room Ambience pattering Hannah Barbera forcefields and ray guns at your eardrums, January 2nd, while “Exciting,” I swear, is a Mega Man level (8 or 16 bit I can’t even begin, and day as well left to October).

The meta musicianship sails a lot and delights the internal quiz. (CONNOR SEZS: “Golden” is a sample from Deltron 3030?) “Golden” is a sampled tune of Del’s historical records, while “It’s Partly Me”, “Immortals” and others simulate some sample sound. If I was to guess I’d say the source code for “Golden” is in Future Development (1997), but I cannot ID source, only the day of November 7th. “Gun Fever” ‘s tree of little birds sampled and tight intricate percussive staccato couples turntabalaisms yoga and tight synth as February 29th. “All as Above so Below” and “Immortals” draw the light choral sunset (CONNOR SEZS: that string section is SO SUNRISE) of the Labor Day weekend of 1978, September 2nd and 3rd.

I’m gonna go back to ‘78 a little bit longer, excuse me, I’m taking this album with me, and my initials are gonna be all over this Multicade, you’ll see. Fifty Thousand.

On Double Dragon.

by Perkus Tooth