~scape

scape12

v.a.
instrumentals - staedtizism 3 Hip Hop can look back on a long, great history. With an ongoing diversion, the music of breaks adopted elements from all kinds of music and, at the same time, heavily influenced other musical genres as well. Within what we call electronic music these days, Hip Hop has a strong, solid standing, not only because people do not waste their energy any longer with \"genre-watching\", but are interested in all kinds of music. More importantly, there is a growing number of artists who approach Hip Hop from a completely new direction. The old EMU-workstation SP-1200 has been traded in for a Powerbook, which, running all kinds of advanced software, is the new core element of the Hip Hop universe. What is still there, is the deep believe in Funk, the break and the power of bass. What has disappeared is the more or less dated sample library. In a network consising of people and projects like cLOUDEAD, Prefuse73, Schematic/Beta Bodega (not to forget the associated Rice & Beans imprint) and technically brilliant R&B production, the HipHop rack in record shops currently is at least as thrilling as your usual favorite shelve. Be it at the ~scape headquarters or at one of their numerous label nights, Hip Hop made it into the record box a long time ago. To dedicate the third part of ~scape\'s staedtizism compilation series to Hip Hop, is nothing but a logical step. After Dub (part 1) and Jazz (part 2), it is up to Hip Hop, both a lifestyle and a musical genre open to all kinds of influences and references, to distil the perfect ~scape sound. Open to all directions, it is easy for the artists involved to find staring-points creating their very own blends of Hip Hop. Somewhere inbetween Jazz and weird funk, A. Pekler, Jan Jelinek and Bus are floating along. Cappablack from Japan and John Tejada, who teams up with Divine Styler, fan an earthquake full of scratch-inspired Oldschool attacks. Kit Clayton\'s special brew of CutUp-R&B-Hop challenges Timbaland and, at the same time, invites him to hang out with him in San Fancisco. In the meantime, Thomas Fehlman is more interested in the relaxing power of the break and how beautifully crafted dub chords can work with it best, all this resulting in a wonderful rainbow track, which should be broadcasted anywhere in the world just after a thunderstorm. Deadbeat from Monreal approaches Hip Hop from a much darker angle and takes advantage from what he has learned from minimal techno. Process then hits the brakes quite heavily, deletes a couple of sounds, just to make sure that his slow-motion jazz fits on top of the break. Gazoo (aka Dan Bell) follows this strategy, although he spells Jazz with a Detroit-dawn-Technobassdrum. Antonelli Electr. joins in with a cute little Technogroove which makes everybody go out and sit in the sun. In the meantime, System are doing research on HipHop in Danish minimalism and win the Nobel Prize. instrumentals is the perfect, long awaited showcase of new Hip Hop. Thaddeus Herrmann