Le Syndrome - Jazzy Bazz - P-Town (Vinyl, LP, Album)

Download Le Syndrome - Jazzy Bazz - P-Town (Vinyl, LP, Album)
Label: Grande Ville Records - none,LEntourage - none • Format: 2x, Vinyl LP, Album • Country: France • Genre: Hip Hop •

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Like us. But when we started working together we realized we really wanted to write new material and have a collaborative relationship with more fluid roles.

Who plays what on the album? Le Tigre: We all sing and play guitar on different songs. Kathleen does most of the singing. Sadie and Johanna do the programming beats and sequencing. Johanna plays keyboards, and Sadie punches in some samples live. Sadie did the turntable stuff on the record. Since we use recording processes and programming to experiment with ideas, sounds, and structures, the way we play the music live doesn't necessarily reflect who made up which part.

We all collect samples, make tapes, write down ideas to talk about when we get together. Why did you decide to release your album on Mr. Kathleen Hanna: Mr. Lady was started by one of the best artists in the world, Tammy Rae Carland, and her girlfriend Kaia Wilson. Tammy and I have been friends for years and years and I not only trust her implicitly but also really like the videos she makes and puts out through the label.

At a time when so many people were forced to be ashamed of their ideals, Mr. Lady sprung on the scene calling themselves a lesbian feminist business, and further [claimed] that their feminism is a part of a larger anti-racist, capitalist-hating program bent on changing the world. What they were doing inspired me to not give up, so it only made sense to collaborate with them, business-wise.

Lady seems to me to be a proud descendent of the lesbian separatist movement. Do you feel that separatism is still a valid and useful thing? Kathleen: Of course lesbian separatism is still valid and useful! As long as straight white men own and control the majority of every imaginable resource — including physical and psychological space — separatism will always be important.

I am sick and tired of people always wanting to pick various forms of separatism apart and, you know, claiming it's "reverse discrimination" rather than analyzing the akes separatism both needed and incredi- urishing people who are so often derailed.

Lady as a lesbian-owned business committed to supporting art informed by radical values — I'm not sure if I would locate them within a separatist history. Personally, I feel that any politics of exclusion is problematic by virtue of its underlying reliance on notions of stable categories or identities.

At the same time, I believe that it is better to participate in something problematic sexist, racist bullshit that r bly important in terms of n Johanna Fateman I : imperfect, provisional, and experimental than to allow unresolved questions [to] exclude us from political mobilization. I'm really proud that our band is involved with Mr.

Could you explain what is going on for the benefit of readers here in Vancouver who probably haven't heard of this?

Johanna: In the interest of "cleaning up" New York, Giuliani has re- zoned areas previously associated with adult entertainment and pornography. This has put a lot of people out of business — including sex industry workers. He's a fucking asshole in a lot of ways Kathleen: He has also been publicly abusive to the family members of people killed by the cops and supported police violence against People of Color. I could go on and on. There are a few lyrical and non-lyrical moments on your album that hint toward a discussion of academia and academic life or, more simply, knowledge and the hunger for it.

Do you feel that academia is an inherently repressive and classist institution, or are there ways in which it can and should be changed to better benefit people? I think that many colleges, universities, etc. However, it would be impossible to categorize the multitude of academic experiences people have into a blanket statement containing words like "classist and repressive.

BUT I still feel incredibly lucky and happy that I went. I learned so much in school — a lot of what I learned I used to analyze the way oppression functions in my life, both in terms of my own privilege and beyond.

This idea also erases all the people who have worked ten times harder than the trust-funded kids and are currently working towards making the college experience safer and better for every- Johanna, can you tell us about your zines? Johanna: I did a fanzine called Snarla for three or four years with my closest friend from high-school.

I think we did about six issues. It circulated mainly through girls in the west coast punk scene. When I moved to New York to go to art school the terms of my work shifted away from the identity-politic issues of a punk scene to more theory-driven projects — I was fascinated by the sexual politics of conceptual art's recent history and the social structure of art school and the gallery system.

The Opposite, Part I was "a fanzine about art," my first attempt to deal with disparate areas of culture for example, modernist painting and feminist underground punk music with the same language.

My Need to Speak on the Subject of Jackson Pollock is actually the transcript in zine form of a semi-facetious lecture I gave to accompany two paintings I made. It was my final semester of art school, and in a lot of ways the lecture was a final "fuck you. I am working on a new fanzine that will hopefully be done before Le Tigre starts touring extensively. Who is your favourite feminist theorist, writer, or activist? Johanna: It's really hard to choose just one. Right now I am really into Donna Haraway's ideas about feminism and technology and The Need's new record.

Kathleen: I like Sarah Lucia Hoaglund. Is "Dude Yr. So Crazy" about a real person or a "type"? Le Tigre: Both. Kathleen has said that Julie Ruin was a character that she "invented.

Johanna: I don't have a character worked out yet. But I do have a ritual eyeliner routine I do especially for Le Tigre shows. Do you find that assumptions about women in the avant-garde are different from the assumptions about women making rock music? Are they the same? I'm thinking specifically of Yoko Ono — she was a very avant-garde artist, yet she tends to be perceived as a talentless groupie.

Johanna: Who perceives Yoko Ono as a talentless groupie? Sexist jerks are sexist jerks whether they are judging conceptual artists or pop stars, you know? Kathleen, what is your involvement with Atari Teenage Riot? I read a review of one of their shows which claimed you were singing with Add N to X. I've seen them before. I think they are really interesting. What are your touring plans?

Will you be playing any shows with The Need? Please check for exact dates on the tour page of the Mr. Lady website at www. Alien Radio Station goes for the minimal approach, and prefers to keep the bass as the anchor to most of the tracks. I fear saying something like "dark" or "mysterious" because it seems like everything I've reviewed lately seems to be that way, so please insert your favourite word with the same effect here.

Who needs self-hypnosis when you can get Magnetic Trajectory Concern? White folks, over the past, oh, few centuries or so, have displayed their own unique ineptitude in a number of fields. Consider, for example: white TV [Friends, Dharma and Greg , white sport golf, polo , white food hamburgers, hamburger helper, tuna helper, tuna casseroles.

I mean I could go on but the examples I've given are pathetic enough. I may as well write the white obituary while I'm at it It's in the white music arena, however, that one comes across the truly disturbing, flea- ridden underbelly of Western Civilization. But, why bother? Our darker brethren are pumping out some quality shit that proves white people are the watered- down, piss-filled Coors Lite of the socio-cultural breakdown.

Even though I thought it would suck when I snagged it, Ramasutra's East Infection is the kind of album that will embarrass most whiteys. As for Blackalicious' Nia Nia is my most-lis- tened-to album of the month.

Here's some advice for any individuals of similar mind to myself brown, red, white, yellow, whatever you may be : arm yourself with Blackalicious and Ramasutra so you can fight the white parasite before it ravages any more of our glorious earth. And John Tesh Sometime Mogwai collaborator Sutherland has previously been responsible for music characterized by a winning combination of sparse-but-eclectic instrumentation and quirky-but- touching lyrics.

His new project is a self-consciously contemporary development of this style, providing a lush, electronically enhanced backing to LFK-style tales of awkward outsider love. This approach has its strengths and weaknesses. Many of the songs on Blush are marred like so many records nowdays by the lazy deployment of dated drum'n'bass and trip hop cliches. For the most part, though, Sutherland makes good use of the new tools at his command.

The beats are rugged but intricate, the samples otherwordly but strangely familiar. At a time when many musicians wrongly assume that access to high-tech gear will open a gateway to strange, at a premium. Blush has just enough of these qualities to mark it out from the crowd. But, seeing as this is B's fifth LP and all, it seems unnecessarily glib to write the 'Skull off as generic and indulgent.

What marks this Portland- based act out from the competition is an other-worldly variant on that most treasured of qualities, namely soul. This, in turn, may stem from a disconcerting mix of sparse, non-humanistic live playing and organically gritty electronics.

It is indeed rather flaky stuff at times, with some tracks descending into the realms of truly shambolic noodling. Nevertheless, as a whole, it's surprisingly accomplished and, often, really very lovely.

The ritual search of the Review Bin produces many punk bands of the Fat Wreck Chords type or something sickeningly similar. What has become of the state of punk music today? It is utterly boring and routine. Well you know what? I think we have something here. The headlines were wrong: punk isn't dead. It just moved. To Winnipeg? This is an excellent melodic punk album: upbeat, fun and sincere.

Admittedly this isn't musically groundbreaking, but that doesn't mean it can't be an enjoyable listen; it's quite fun, actually. A big fan of both that record and the subsequent Trinity Sessions, I sort of kicked the habit when the Junkie's third release, The Caution Horses, saw them veer away from druggy blues and into the Adult Contemperary market.

So I was enthused by the possiblities that this record had in store. Hit and miss, hit and miss. The opening track, about being horny, is dominated by fabulous feedback and epitomizes the country blues raunch that a stoner like myself can relate to.

I'm a sucker for hard sells. Since Dan Destroyer I heard this term from "Brave New Waves'" Patty Schmidt has crazy songwriting skills and lyrics I will never be able to decipher, Vancouver will once again limp past another potential national treasure. Dan tells you, "Hey! Give it more than one full listen! My songs are like the movie Airplane. You'll pick up things you didn't hear the first time.

It's been a while since I've been rocked by a CD, but Destroyer is easily a gem for all to cherish. Chris-a-riffic DJRAP Learning Curve Sony Well, I thought this would be rather interesting to review, particularly after last month's interview with Andrea Parker who happens to be one of my favourites within the electronic scene.

For those who don't remember, Parker mentions DJ Rap in her discussion of her frus- vith hov the arket it prone to focus on the idea of a "female DJ" rather than the music.

As Parker mentioned, DJ Rap does happen to be a beautiful woman, but it would be a shame to just leave it at that. DJ Rap is no newcomer to the scene either, and although this may mark her Sony debut, she's been around since the early '90s producing and remixing.

When I say pop, however, don't start thinking you'll see this album crashing the top 40 charts in North America anytime soon. It's probably still more comfortable in a club setting, but the melodies are strong, the arrangements are smart, and the lyrics I was expecting to have more drum V bass involved, but only with the last track do you see that come through.

If you like, you can import the UK version, which has a couple of more tracks in that genre. Undoubtedly, many will label this album, or as some British magazines promised, DJ Rap would become the new ambassador of club music to the uneducated. Well, I don't think either exactly happened, but this is a smart piece of production, and hopefully, it's a sign of things to come. The Dub Narcotic version of "Soul Typecast" on the Blues Explosion Experimental Remixes album was proof that these two bands were meant to be together.

Something about the mixture just seems to work. Calvin lays out the classic monotone vocals while Jon Spencer adds in the odd "damn," "yeah, hey Judah," or "do it. If you have ever been a fan of either of these bands, give this record an honest listen. I have to confess that I had stopped buying Blues Explosion albums because they were all starting to sound the same to me. This record has definitely rekindled my interest in both of these bands.

I saw them the last time they came to the Starfish Room, and well, they didn't impress me much. This album is fortunately not nearly as boring: it's poppy, fun, and light- hearted Jim O'Rourke helped record the record at Abbey Road.

This is a good album to listen to while eating oranges in the sun. These are six minute-plus soundscapes with vocals that are reverbed up the ass. It's still kind of cool, with long keyboard and guitar tunes and ridiculously slow programmed beats. Still, it wears. It does remind me, however, of My Bloody Valentine, but with an even more laid-back atmosphere. Kid Dynamite has just broken up in the wake of their new record's release.

The record, however, is more optimistic, hearkening back to the days when post-hardcore bands were just called hardcore. They're not really hardcore in the Snapcase sense, though; they sound more like Rancid when Lars sings than anything else. Nonetheless, this is a refreshingly energetic record and I hope a few of their more anemic-sounding Jade Tree label-mates pick up a thing or two from it. Well, here is the solution The Kissing Book weaves eleven infectious pop gems filled with heartbreak and hand-holding.

They definitely did their homework on '60s pop, even in the artwork department. This album would fit right in with your parents old LPs. I have to say that on a sunny day there is nothing quite as fitting as a sugary sweet pop album.

That said, today is sunny, so The Kissing Book has found its way into my stereo. There is nothing left to do but enjoy the sun and smile. Another CD that blends traditional music with technology.

And I normally love it. Talvin Singh, Joi, The Covenant — all awesome musics that go that route. But Lunar Drive irks me. I think it's because this one, to me, lacks a certain authenticity. My trap worked! You have discovered the problematic nature of the "ethnic" marketing gambit! Deep Forest all over again, but this time on an independent label. I mean, I could be wrong. I don't know about the label, and I don't know the people involved, and I'd be the last to intentionally offend someone, but with songs like "I'm in love with a Navajo Boy" and "Way Hey Hey" and "Trees Wave Bye" it all comes across as a little formulaic, a little watered down.

A little too safe. A little too white. That's not to say it's not interesting in its own right. It is — it's got some good drum V bass, some nice trancey stuff, some dancey stuff all mixed well with "traditional sounds" and if you're looking for something like that, Lunar Drive is for you.

I'll stick with something else. Fortunately, they save us from the unplugged coffeeshop approach by occasionally throwing in some slow and funky drum loops and samples. It works and the melodies remain distinct and memorable which is one of the great things I like about this album. You'll have no problem humming along, but maybe it's this very accessibility that hurts it somewhat.

The tempo remains generally the same throughout the entire album, so it's difficult to not wish for a track that would stir things up. Yes, it's a good listen, but I can't imagine running back into a burning house to retrieve this CD. It's about subtraction more than production. Night has fallen, ripe with metaphor, and it's bittersweet- ened by my knowledge of Morphine frontman Mark Sandman's death.

The music on Morphine's sixth release is sensual, luxurious, and way too sexy — as usual. The ultimate noir band will from now only exist in recorded form, and thankfully Night, like all their other releases, is a stellar record. Lady It's very hard for me to articulate what it is about this album that I like.

This Massachusetts trio partakes quite earnestly of the kind of pop-rock that I seldom if ever like, yet it works. In a cryptic, inexplicable way, of course. At times The Moves sound like a softer Excuse 17 call-and- response vocals, alternately choppy and strung-out guitar.

Mostly they sound like themselves. I feel bad about it, but I really have nothing else to say. The Need is about biology confronting technology. Characters have body parts removed, strap on replacement limbs, couple in "unnatural" ways. The Need is a rock band deconstructing our assumptions about the body and its relationship to gender.

Their eponymous debut CD dealt with these matters more explicitly, but The Need Is Dead takes the themes to a more abstract and sophisticated level. The Need creates a lyrical universe where dyke sex is the unquestioned norm. Musically, The Need Is Dead is subtle and sophisticated, full of artifice but hardly phony.

I'm doing it again. Radio, please. We're the outcasts of the extended family because we live in the city. Anyway, on these trips my dad would take great pleasure in torturing us with Alberta radio stations. I swore then that I'd never like country. That was a half-life ago and since then I've discovered some pretty hep country 'bums. Namely: Neko Case 'bums.

All I want is a porch-swing and an uninterrupted horizon. But who am I kidding? Neko and her BFs are modern folks too. Just call me old fashioned when I say, "Neko Case and all your boyfriends, will you marry me?

Really, who knew that all those piano lessons as a kid could equal electronic coolness later on in life? There's a simplicity about the music that's refreshing; no pretension happening here. I guess if you think Dr. Other artists, notably Don Morgan, worked on the strip. Selby Kelly began to draw the strip with the Christmas strip from from scripts by Walt's son Stephen. The strip ended July 20, Selby Kelly said in a interview that she decided to discontinue the strip because newspapers had shrunk the size of strips to the point where people could not easily read it.

Doyle left the strip as of February 24, , and Sternecky took over as both writer and artist until March 22, After Sternecky left, Kelly's son Peter and daughter Carolyn continued to produce the strip until October 2, , but interest waned. The strip continued to run for a couple months with reprints of Doyle and Sternecky's work, and came to an end on November 28, The characters live, for the most part, in hollow trees amidst lushly rendered backdrops of North American wetlands, bayous, lagoons and backwoods.

Fictitious local landmarks—such as "Miggle's General Store and Emporium" a. The landscape is fluid and vividly detailed, with a dense variety of often caricatured flora and fauna. The richly textured trees and marshlands frequently change from panel to panel within the same strip.

Like the Coconino County depicted in Krazy Kat and the Dogpatch of Li'l Abner , the distinctive cartoon landscape of Kelly's Okefenokee Swamp became as strongly identified with the strip as any of its characters. There are occasional forays into exotic locations as well, including at least two visits to Australia during the Melbourne Olympics in , and again in The Aussie natives include a bandicoot , a lady wallaby , and a mustachioed, aviator kangaroo named "Basher".

In , Pogo, Albert and Churchy visit primeval "Pandemonia"—a vivid, "prehysterical" place of Kelly's imagination, complete with mythical beasts including dragons and a zebra-striped unicorn , primitive humans, arks, volcanoes, saber-toothed cats , pterodactyls and dinosaurs.

Kelly also frequently parodied Mother Goose nursery rhymes and fairy tales featuring the characters in period costume: "Cinderola", "Goldie Lox and the Fore-bears", "Handle and Gristle", etc. These offbeat sequences, usually presented as a staged play or a story within a story related by one of the characters, seem to take place in the fairy tale dreamscapes of children's literature, with European storybook-style cottages and forests, etc.

The strip was notable for its distinctive and whimsical use of language. Kelly, a native northeasterner , had a sharply perceptive ear for language and used it to great humorous effect. The predominant vernacular in Pogo , sometimes referred to as "swamp-speak", is essentially a rural southern U. Pogo has been engaged in his favorite pastime, fishing in the swamp from a flat-bottomed boat, and has hooked a small catfish.

Kelly used Pogo to comment on the human condition, and from time to time, this drifted into politics. Perhaps the complexion of the strip changed a little in that direction after After all, it is pretty hard to walk past an unguarded gold mine and remain empty-handed. Pogo was a reluctant "candidate" for President although he never campaigned in and Eisenhower 's iconic campaign slogan "I Like Ike", appeared on giveaway promotional lapel pins featuring Pogo, and was also used by Kelly as a book title.

A campaign rally at Harvard degenerated into chaos sufficient to be officially termed a riot, and police responded. The Pogo Riot was a significant event for the class of '52; for its 25th reunion, Pogo was the official mascot.


Baby Im A Star - Prince - MP3 (CD), The Amazing Pudding (Atom Heart Mother), Theme To Piñata - Bright Eyes - Digital Ash In A Digital Urn (Vinyl, LP, Album), Isnt It Romantic - Al Nevins And His Orchestra - Smooth Listening.Smooth Sailing (Vinyl, LP, Album), Singalong, Bad Times Can Change - 56# Alley Chaps - Ticket To The End (CD, Album), Eddie Drennon & The B.B.S. Unlimited - Collage (Vinyl, LP, Album), Knocker Jungle - Knocker Jungle (Vinyl, LP), LL Cool J - G.O.A.T. Featuring James T. Smith The Greatest Of All Time (CD, Album), What A Way To Die - Suzi Quatro - The Girl From Detroit City (CD), Sacramento - Les Westerners - You Win Again - Down In Dixie - Sacramento (Vinyl, LP, Album), Its A Light - Various - Waterkant-Hits (Vinyl, LP) Youd Be So Nice To Come Home To - Sarah Vaughan - After Hours At The London House (Reel-To-Reel, Alb


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    Check out P-Town [Explicit] by Jazzy Bazz on Amazon Music. Stream ad-free or purchase CD's and MP3s now on
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    May 17,  · Extrait de l'album P-Town dispo partout: Produit par Dela Arrangé par Jazzy Dad & Lionel ElSound .
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    Find album reviews, stream songs, credits and award information for P-Town - Jazzy Bazz on AllMusic -
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    About “P-Town” Premier album de Jazzy Bazz, sorti le 26 février Cet album est la suite logique de son premier projet, Sur la route du , afin de rester dans la thématique du.
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    P-Town, an Album by Jazzy Bazz. Released 17 June (catalog no. none; Vinyl LP). Genres: French Hip Hop, Jazz Rap, Conscious Hip Hop.
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    Explore releases from Jazzy Bazz at Discogs. Shop for Vinyl, CDs and more from Jazzy Bazz at the Discogs Marketplace. Jazzy Bazz: P-Town (Album) 2 versions: GS11 / IDOL LP Jazzy Bazz: Nuit (Album) 2 versions: Production: GS11 / IDOL LP .
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    Apr 14,  · Jazzy Bazz has always had the habit of excelling and progressing with every new release. The French rapper shows once again that things are not about to change. The member of super collective L’Entourage brings us the visuals to “P-Town” taken from the same titled album.
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