Patchwork – MC 59
Sunday, May 24, 2026
THREE 6 MAFIA MP3 Pack
RUTracker – FOR UR CONSIDERATION
American hip-hop group from Memphis, Tennessee.
Established 1991 in Memphis with DJ Paul (Paul Beauregard), Juicy J (Jordan Houston) and Lord Infamous (Ricky Dunigan). The original name for the hip hop group was "Backyard Posse", followed shortly after by "Triple Six Mafia" and they originally did "horrorcore" music. The group formed through releasing several EP's from their own record company with Nick Scarfo, Prophet Entertainment, later launching their own label, Hypnotize Minds.
During their early career, they also propelled the careers of several other rappers. Eventually added before the release of "Mystic Stylez" were rappers Koopsta Knicca (Robert Cooper), Gangsta Boo (Lola Mitchell), and Crunchy Black (Darnell Carlton).
Evolving slowly but steadily over the years, Three 6 Mafia (whose name is a reference to the biblical number 666), began as an exploitative, horror-themed underground hardcore rap sensation yet went on to enjoy some mainstream success years later, eventually winning an Oscar and scoring some major hits.
The group's membership varied from album to album, with the one constant being the duo of Juicy J and DJ Paul, who are producers as well as rappers. Other notable Mafia affiliates at one time or another include Crunchy Black, Gangsta Boo, Lord Infamous, Koopsta Knicca, La' Chat, Project Pat, Killa Klan Kaze, and Indo G. The production acumen of Juicy and Paul also brought about a number of side projects including Tear Da Club Up Thugs, Hypnotize Camp Posse and Da Headbussaz, and independent label ventures; the guys initially did business as Prophet Entertainment, later as Hypnotize Minds, working out deals with Relativity Records, Loud Records, and Columbia -- all in turn.
Other, Like Me: The Oral History of COUM Transmissions and Throbbing Gristle (2021)
1h 22m 2.16GB .MKV file
"Neil Andrew Megson and Christine Carol Newby might not be household names, and their stage personas – Genesis P-Orridge and Cosey Fanni Tutti – might not be on everyone’s playlist. But their performance art collective and band would become among the most influential artistic statements ever. A profile of uncompromising creativity..." (Guardian)
"Aesthetically and philosophically, the industrial genre, grounded as it is as a response to the destructive and dehumanizing elements of industrial society, thematizes our collective potential for dehumanization as well as a potential fuller humanization..." (Dr. Thomas M. Conroy, In the Marketplace of Transgression: Throbbing Gristle and the Pornographic Imaginary)
"The punk rockers said, 'Learn three chords and form a band'. And we thought, 'Why learn any chords?'" (Genesis P-Orridge)
.................
BBC Four Website
Hull, England, 1970. In a run-down commune in a tough port city, a group of social misfits - mostly working class, mostly self-educated - adopted new identities and began making simple street theatre under the name COUM Transmissions. Their playful performances gradually gave way to work that dealt openly with sex, pornography, and violence. The group lived at the edge of society, surviving on meagre resources, finding fellowship with others marginalised by the mainstream.
At the core of the group were two artists, Genesis Breyer P-Orridge and Cosey Fanni Tutti. As their work evolved, Cosey embarked on a career modelling for pornographic magazines, work that she claimed for herself and classified as conceptual art, using it to forge a specific position in relationship to 1970s feminism. In performances, Genesis pushed himself to extremes, testing the limits of the human body. By the mid-1970s, having been chased out of Hull by the police and now living in London, they had caused one of the 20th century’s biggest art scandals and been branded by the British press and politicians as "the wreckers of civilisation".
On the brink of art world success, COUM turned their attentions to music, starting a new phase as the confrontational and notorious band Throbbing Gristle. They built their own instruments, ran their own independent record label, and challenged the norms of rock performance. Throbbing Gristle confronted the dark side of human nature with brutal honesty and invented an entirely new genre of electronic music, which they named "industrial". The band imploded on stage in front of thousands of fans in San Francisco in 1981, before reforming 23 years later, having become a major influence on subsequent generations of musicians.
SABAC MP3 Pack
RUTracker – FOR UR CONSIDERATION
He was born in Guaynabo, Puerto Rico along with his twin sister. His family moved to Brooklyn, NY when he was 4 years old. Sabac was raised by his mom and grandmother who are Sicilian, Italian. Sabac grew up in the Gravesend section of BK, neighboring Bensonhurst and Coney Island.
He began his journey into Hip Hop as a B-Boy and aspiring Graf artist (but was a horrible Graf writer). At the age of 12, Sabac began exploring the art of emceeing. He would listen to Red Alert's and Marley Marl's radio shows (broadcast every weekend during the 1980s on KISS-FM & WBLS) and memorize other emcees lyrics. He would then make parodies of popular songs using his own lyrics. He would perform at block parties, school talent shows and anywhere there was music and a mic, constantly battling other emcees. At the age of 15, while attending Lafayette High School in Brooklyn, NY, Sabac would promote parties and shows for artists such as T-La-Rock, Milk and Gizmo, Big Daddy Kane, Greg Nice and many others. He was into anything that was Hip Hop affiliated. While in school, Sabac found himself getting into trouble with the law. He had to do community service at the CityKids Foundation where he learned how to use his lyrics to express his pain and the things that were going on around him. He is now the Director of the CityKids Foundation.
After high school, Sabac attended recording school where he earned himself a degree in recording engineering. He went on to work for Wild Pitch Records as Director of College Radio Promotions and worked records such as OC's "Word Life". He also did street promotion for Nas' "Illmatic" and a number of artists in the early 90s. In 1995, Sabac hooked up with ILL Bill and there began the relationship which is now the legacy called Non Phixion
SHRIMP BOAT MP3 Pack
RUTracker – FOR UR CONSIDERATION
Defunct Chicago band formed in 1985. They are considered precursors of the post-rock genre. They broke up in 1993, a few months after the release of "Cavale" LP. In 2004 AUM Fidelity label issued "Something Grand" - a compilation which includes tracks from throughout their career, almost all of them previously unreleased.
Saturday, May 23, 2026
Friday, May 22, 2026
Mac Blackout - 2026 - Cycling Vol 2
Self Released – None
Cycling Volumes 1 and 2: multilayered electronic sequencing with wind improvisation
In the winter of 2026 I dusted off an old stationary bike to use as daily therapy for an injured knee. I soon saw the potential of turning these cycling exercises into high energy creative recording sessions. I built a wooden rack for synth modules, wired it to the handlebars and began. The project quickly became an obsession multitracking layers of synth sequences each morning, then recording improvised sax or flute later each evening during daily emotionally charged therapeutic practice routines of spontaneous composition. For each piece the initial layered synth tracks were recorded during a series of 5-6 minute rides, repeating 3-4 times, quickly composing additional interwoven sequences, intuitively manipulating frequencies while riding and multitracking.
Cycling is a document of the spontaneous artistic process and has been largely left raw and uncut to reflect process as art. Each piece was created with physical instruments and mixed spontaneously on a Tascam Model 12 without computer or DAW. The sustained dynamic energy, movement, and meditative qualities of each piece are largely due to this process in the spirit of constant forward movement, exhibiting the beauty of intuitive spontaneous creation, capturing fleeting moments of initial inspiration through presence, therapy, physical and mental, in the endless cycles of life.
Souled American - 2026 - Sanctions
Jealous Butcher Records – JB274
Souled American return after thirty years with a work of immediate relevance. Arriving just in time, with decency roundly mocked, as dissent spells career disaster and algorithms isolate us into units of convenience, Sanctions dares explore roots and traditions in both sound and consequence, revealing a band that has lost members but gained gravity. Acclaimed by Jeff Tweedy, The Jayhawks, John Darnielle, and Counting Crows, Souled American here elevate their unique style of ambient Americana into a life-altering experience full of feeling and drama, like some ink-stamped elegy fresh off the printing presses of Walt Whitman.
White Fence - 2026 - Orange
Drag City – DC978
Like a lightning strike that travels through time – is there a word for that? – White Fence are all of a sudden cracking in the hear-view mirror again. Orange hits like, visceral. White hot and cold, a zombie Rhinestone Dwight Twilley Cowboy – but with each Rickenbackin’ chime, the ticking of the clock jingle-jangles White Fence in fresh time. Ruthless!
Guitars sound and like a shower spray forth. Resolutely picked. Cold and soothing. Shellodic (the melody in a shell, duh!). Swivelin’ thru the jagged, jittery pop sounds of the 60s-00000s, the sharped focus of Orange’s rock sonics gives Tim Presley exactly what he needed the most: open space to sing into, and songs to sing. The rest is White Fence magik at its most dark, as Tim's restless free-allusivation trippifyingly transforms the cramped confines of heart wracked self-excoriation right before our eyes and ears! In pop songs.
On (the mixing) board with White Fence/on the (drum) kit with Tim is Ty Segall (also producer of For the Recently Found Innocent, the last solo White Fence album). Engineering tactics fully hand-in-glove with the White Fence intent, they produce a clean and uncrowded space to mount up all the rock ‘n balladry, their clean lines surrounded by an emphatic/unalterable (minimalist) frame. These are hits! All of ‘em gleaming with clean electricity, and white (sometimes black-and-blue-eyed) soul. Hard water and power held in stylish reserve: “Your Eyes,” “Given Up My Heart,” “Unread Books,” “Evaporating Love” number among the many highlights.
Tim’s lyric sets and chord progressions, with their perspectives, time codes and smash cuts, give up eleven fleeting glimpses from the other side of the 'Fence, each outfitted as foot-forward pop tunes for maximum rock ‘n roll. On the “title” tune, “I Came Close, Orange For Luck,” the lyrics’ dire implication, blurred sumptuously by Tim’s eerie falsetto, twist strands of dread into the sunshiny college rock, sharing sum space with old schoolboys, The Smiths, while straying, an outcast of its own kind. Or the Lennon vibes of "Unread Books," operating through carefully twisted Presley wires. Production polarities on point! Playing with genre throughout the album like a space-age Kinks, Tim’s natty wordplay splatters against the songs' rock-solid edifice, spilling an infinitum of cracked, shaggy realities, billowing, mirrored, sharded. When it all moves, you move, and that’s fun, so long as you savor the deep impact of a couplet from “I Wanted a Rolex”:
“It’s the ocean sized desire/Impossible to satisfy."
Tim offers this post-op 'as-per' for Orange:
“Love/loss, addiction/rehabilitation, and a good long look in the mirror (by way of a shop window reflection in San Francisco).
But also the absurdity of life..... I wanted to sing my little heart out. Sing life”
Orange is an unstill life; a bowlful of Tim’s latest conceptions for guitar band, grown larger through thoughts, feelings, SONGS and some keys and synth from Alice Sandhal (+ 2 drum cameos from the ever-righteous Dylan Hadley!). A trance-like chronology of consciousness, captured in opalescent diamond tightness and ice fidelity at Ty’s Harmonizer II studio. It’s a KILLER. White Fence is Orange on time this time!
Subscribe to:
Posts (Atom)