Cornelius

"Cornelius" by the Bloody Beetroots

CORNELIUS from borntofilm on Vimeo.

Taking a cue from my boy Dylan over at portlandplayground I feel the need to share with you this masterful video of debauchery and all around good fun from the Bloody Beetroots. Reminiscent of Justice's recent release of A Cross The Universe, this video keeps on the idea that our generation is going to make civilization swan dive straight into the shits of chaos, abuse, and all around anarchy. Oh the beauty of it all. One thing to note is that this type of shit doesn't happen in Portland, because of its non existent dance/electro scene. But do not fret good sirs and madam es, this is about to change, thanks in a large part to the aforementioned portlandplayground and its leaders, the White Sirens of Burr. So prepare to sodomize complacency and hopefully this video, and the Blood Beetroots (they are fucking amazing, check their shit out, it is mind blowing) will tide you over and prepare you for the irrevocable change that is awaiting our great city
[Nick Erickson]

White Fang Show

Sup Dawgs?
So I was at the white fang show last night at the artistery. I will admit, I wasn't always the biggest fan of the white fang. When they played at the Holocene last summer for the pdx pop now CD release party, me and my friend opted out to go see some free titties next store at Sassy's. But back to the show last night. Deelay Ceelay, or was it Ceelay Deelay? either way was pretty good. Two drums, some prerecorded synths, very cool with the fog and video show projected behind them. Next came Mad Rad, which were okay, their beats were definitely a little more dance like then fitting for hip hop beats. Finally came white fang, right off their aborted US tour, back for some p-town lovin. Even before they started, the crowd began moshing around so that 30 seconds into their first song they had to stop because we had knocked over the drum set. They loved it, the people working at the artistery, not so much. Newly equipped with two guys to keep the crowd from rushing the tiny stage, they started again, wailing away on their assortment of instruments. The crowd ate it all up, jumping around, propelling bodies into one another, there was no lack of injury. Multiple times large sections of the crowd would loose footing and pile up onto itself. Unfortunately I had the pleasure of being under a lovely pile and succeeded in getting my knee stomped on, bruises are already starting to form. All in all, it was a great show. Tiny basement given live through the motion of so many bodies, what a sight. It solidified its success when my friend said she got punched in the eye, and was now going to finally have the black eye she has been wanting for forever. She also felt it necessary to reprimand me and my other male friends for being such pussies that we hadn't been able to punch her in the face. Well, maybe another day.
[Nick Erickson]

Pretty Cool: famous 70’s rock stars with their parents

I guess rock stars are people too. I caught a glimpse of these pics and it just made me laugh. Some truly notable musicians with their parents. It is weird to imagine, and even more weird to see. Check it out here
[Nick Erickson]

Check This Out (Also an article on how to give homemade tattoos)

Fecal Face
First off, no, this is not some poo fetish site involving faces, or even poo for that matter. In fact, his is a really cool San Fransisco Art site/blog that features an array of cool articles and photoblogs. Ranging from Free Fridays, which have a theme and call for submissions of original art according to that theme, to interviews with really cool artists from SF and around the US and more. It was on this site that I figured out how to give homemade tattoos, and have been giving and receiving them ever since. I check out the Photo of the Day well, daily. Overall this is a really dope site that you should check out, it is on my daily rotation of sites to check, along with pitchforkmedia, well only their music news (which is first to know on all sorts of music news from touring, to releases, to the goss, and some show pics which are cool) but not their reviews because they are a bunch of music snob cunts.
Back to the point, this is a site you should check out, and for a sampler I will provide the link to one of my favorite articles:
Homemade Tattoos
(thanks Andreas Trolf for this masterpiece)
[Nick Erickson]

Best Late Night Televison Preformance Ever

From Crackle: Death From Above 1979 - Romantic Rights

Do you love music? Do you love live music? Are you an asshole? If the answers are: yes, yes, and well the last one doesn't really matter much, then check out this video of Death From Above 1979 preforming on the Conan O'Brien show.
[Nick Erickson]

Getting a Little Freaky Down In P-Town

For all of you who don't know, Portland is fucking awesome. That said, there are a few things that need changing. For one, we have all of these people in our great city that need to be forced to do anything, and are reluctant to go check out a show or band unless there is some hype or they are in right now. Another is the complete and utter lack of constant dance parties. Being someone who loves to get down and dance the night away, this is a complete drag, yet there's a savior on the horizon. A little coalition know as PortlandPlayground (portlandplayground.blogspot.com) has high ambitions to fill that void. Headed by members of a little upstart group know as The White Sirens of Burr (myspace.com/whitesirensofburr) are hoping to collate a collaboration of Portland musicians, artists, writers and give them a space to present their work. As of right now they are small, consisting of five members, yet their ambitions are not reflective of their size. Armed with a set of concert speakers and a wish to dance the night away, this is a force not to be reckoned with. Their goal is to oppose the complacincy we have with our current scene and hope to provide an outlet for musicians to preform in front of audiences and to give people a steady set of dance parties and shows, did I mention these shows are set in warehouses/rented storage spaces/rented moving trucks/dorms/ and any other place that they can break into and plug in. So check out this blog (they even have a link to our own) and keep watching for more news on these up and coming Portlander's
[Nick Erickson]

Artist Profile: DjH2

www.myspace.com/djh2
Sometime in the summer of 2007 I was stumbling around electronic artists on MySpace (yes, MySpace) and happened upon this diamond in the ruff. Straight out of Harlem, DjH2 has fat beats on par with every big name producer I have encountered. Upon hearing a few of his tracks, I set out on a desperate search to download anything and everything I could of him. Yet low and behold, he was not signed to any label, or anything of that nature. He had few mixtapes up to download, and so I took what I could get. I was amazed by the talent and quality of the tracks available for download, and amazingly enough, over a year later he is still a regular in my rotation. Any time I want to relax, or listen to some smooth beats, DjH2 is first to be put on. When posed with the task to list my top 5 chillist beats, DjH2 held the number one spot. His MySpace www.myspace.com/djh2 is regularly updated with fresh new beats, and the occasional free EP’s for download. Also to my great excitement, he has an album ElevatorMusik available for purchase, as well as two others, TalkingWalls and Poison Punch Socials, which will be available soon. So when you want some music for the soul, hit up his page and prepare to be taken on a ride.

Reminiscent of old school beats, and heavy jazz influences, H2 is one of the most talented Dj/producer/beat makers of our generation. Long overdue for big success, his intricate working of obscure (Star Trek radio show vinyl) and oldschool breakbeats and samples lets his immense talent shine. He touches down on the soul of earlier eras and creates something completely new and his own, all the while paying tribute towards those he samples from. This underground producer is one that should not be missed and is a must have in any hip-hop/soul/funk/jazz/blues aficionados music library.
[Nick Erickson]

Iron and Wine (Sam Beam)

[October 6, 2008 Eugene, OR McDonald Theatre] Gray Tuesdays, lying in your lover’s arms, with nothing else in the world but you and her. I will admit that this was a show that packed a large emotional punch for me. There was baggage there that surpasses any other artist or song on my iPod, all 58 GB by last count. For 6 months even hearing the soft cords or melodic voice that Sam Beam has would fill me with dread and nausea, yet not at all because of his skill. Eventually though, his songs were so great that I could eventually get past my emotional hang-ups, and move on once again to loving his music. Now instead of dread I feel the love of what once was, and what will be. Alone on stage, it was up to Sam and his lone guitar to serenade the crowd with a mountain man beard and soft beautiful voice. He was surprisingly friendly (not that he would have been mean, just that he often chatted with the crowd as one would with a friend). On his first song he messed up, forgot the cords and skipped lines, only to stop and chuckle, laughing about how one can never be perfect. It was endearing. It showed you what music really was; his art, yet it takes practice and he got warmed up. Going through his set he would talk to us, commenting on how we should be doing school work (Eugene is an university town) and all the ups and down (mostly ups really) of smoking weed, which of course we all do/did. I have never felt as close to an artist than at this show. He would talk about how lonely the road is when you are by yourself, and it was like we were his band mates for the evening. One instance in particular was very memorable. During the middle of his set a string broke. Normally this would be a thing kept in back, and a quick change of guitars would be done, and the crowd would be none the wiser, yet there was no background, only him. With no extra guitar, he tuned his to make the next song work, and asked in back for his lone guitar string in the front of his bag. Playing the song sans a string, he was still able to make it come alive. Afterwards he got the string and strung it onstage, yet never missing a beat, always talking to us, making us feel as important as artists always say we are. Finally he got it perfect and continues on. Later on though, while tuning the guitar for his next song (no spare guitars meant he had to tune for most songs) he heard a twang and feared for the string breaking. He had no guitar and said that with no extra string, well that would be terrible. Yet we all knew what would happen. Any of us would run out to our cars, grab our guitar, and hand it over gladly. At times he would stop and we would yell out songs. “Jezebel” was common (it ended up being his encore, chosen by the masses), and as he said, “There is a set list, yet nothing is ever permanent. I can always change it up.” There was the classic call for “Free bird” and instead of ignoring it as usual, Sam responded. “I might just play it, then won’t you look like a dick” and just chuckles. Playing a large part of Shepherd’s Dog and of course Our Endless Numbered Days, it was hard not to be impressed. One could have even sat down and had it all sink in. Sam has even asked for that at shows in the past, and on that night it would have been fitting. He carries a show with just the basics, guitar and vocals. It is amazing how much it can affect someone. I will admit there may have been a tear or two; I know I was not alone, because it is hard to not be hit on some level by his lyrics.
[Nick Erickson]

MSTRKRFT (with Felix Cartal, Congorock)

[10-02 Seattle, WA – Showbox]
When I found out the closest show MSTRKRFT was playing on their 2008 Fists of God tour was in Seattle, I knew that I had to go. Means of transportation went from my friends car, to mine, then at 6 am day of show I found out neither were and option, and needed to resort to train, missing class and committing to an all nighter in Seattle. Every bit of it was worth it. From the sketchy dinners to the homeless crack head trying to sell us weed, it was an amazing experience. Most of all was the five-hour dance party that was the MSTRKRFT show. If you have never been to the Showbox, which is directly across from Pike’s Market, I highly recommend it.
We had the dance party shocked into life by the musical talents of Felix Cartal and Congorock. Although I had never heard of either, both were very good and got all the foreplay with the crowd out of the way so that when MSTRKRFT took the stage, all hell broke loose. Bringing down the curtain, a monolith of screens emerged. On them were elaborate video to mesh with the fantastic mixing of JFK (Jesse F Keeler former bassist of the late great Death From Above 1979; he gave me his cigarette before the show…it was awesome) and Al-P (Alex Puodziukas, a producer on the aforementioned DFA 1979’s You’re A Woman, I’m A Machine) From robots, to acid washed 80’s femme fatal videos, the crowd was taken from small venue to a living, evolving thing. I have been to many dance/techno/dj shows in my time, yet this was by far the most fun I have had. Dancing around, one only had to glance up at JFK to see that they were having just as much fun. Dancing and singing along, he would sneak the occasional drag of his cigarette before the music would drop again, sending the crowd into frenzy.
Standing on stage, arms spread out to embrace the crowd; I was able to see the extent of the destruction the we were doing. Removed from it all we were dancing the night away. Lights and smoke drifting from behind me, I could tell it was time to ascend back into the masses, and leave this stage of gods. And so I jumped as if a question to the crowd, and the sea of people answered back.
Lastly I want to add a slight blurb about their encore. Leaving the stage, the visuals started to melt down and make the dreaded computer error malfunction sound of death. Walking off all cool like, a tip of the hat was all we needed. Screaming and shouting, stomping our feet and chanting MSTRKRFT in unison, we knew we would get what we desired. Finally Al-P walked out to the overwhelming sound of applause and he set the stage. Getting Daft Punks “One More Time” prepped up, he gets it started, but it is just the rise. Repeating words and beats, he just starts the underlay of what is to come. After what seems like an eternity, like the build up to the climax of The Good, The Bad, And The Ugly, JFK runs out like Clint to end it all. Cigarette in tow, he inhales deep and jumps up, slamming his hand upon the button that releases the beat to roam free. The beat drops, and we are in total dance mode once more.
[Nick Erickson]

Concert Review: Blue Scholars-Hieroglyphics

[Roseland; September 24, 2008]
“Beats Rhymes and Life” such are lyrics to live by. This show was one that would fall under Geologic’s (MC of the Blue Scholars) category as “dope” shit. “There are only two types of hip hop, no, two types of music…dope and wack.” This set the mood for the night. For those of you who don’t know the Blue Scholars, here’s a little background. Hailing from Seattle, they are the saviors of NW hip-hop, holding their own among the rest of America’s strong hip-hop scene. Consisting of Geologic (MC) and Sabzi (Producer/DJ), they spread socially conscious lyrics accompanied by instrument heavy beats. I had the chance to chill with both Geo and Sabzi last year when they were playing at none other than our own Lewis and Clark College. They both were down to earth guys with music as a job. Never do their lyrics deviate from those they care about most, their audience, and this is emphasized by how they interact with their fans. With one DJ and one MC, you would think that they would pale in comparison to the fairly large stage of the Roseland, yet that was hardly the case. Geo has a passion for his craft. He projects his lyrics with his body, feeling every syllable. It is refreshing to see someone who still loves his craft. You never get the feeling that he is tired, or not wanting to be there, which happens from time to time with artists. He is not stationary or boring, he feels the beat as he lets go his flow of rhymes. It is also important to note his flow is quite unique, which is refreshing when there is the cookie cutter of lyrics/flow floating around the hip-hop world. With Geo commanding the front of the stage, Sabzi holds up the background. He is not one to fall into the shadows, providing the beat but little else. Sabzi brings energy rare for a DJ, holding his own as a member of the group, not as support. He is a character, dancing around while he spins the beats, he grabs onto his mic to accompany some of the vocal samples (which are pretty much the only samples, since Sabzi creates most of his beats). When “The Ave” came one, the entire crowd started bumping, jumping and singing along, “Fuck class, get your education on the Ave.” With Inkwell Geo let out his rhymes, and half way through Sabzi spun in a very different beat, “Float On” by Modest Mouse. Such a call out towards another NW group shows that they transcend the boundaries of music. I have seen Blue Scholars upwards of five times, not only are they the best NW hip-hop group, but one of the best performers around. They never fail to impress.
Next comes Hieroglyphics. Hiero is the combination of Souls of Mischief and Del Tha Funkie Homosapien. What came out was not this. Souls of Mischief came out, sans A-Plus, and most importantly the “man, the myth, the great great granddaddy of Hieroglyphics, Del” (“Off the Record” Hieroglyphics). This is due to the fact that Del and A-Plus are off touring at the moment. I can’t help but say that I was a little disappointed, even though I was fortunate enough the see them earlier this month, and have seen Hiero in its entirety. Despite this disappointment, the remaining members put on a hell of a show. Even without their leader they were able to command the crowd, pounding out classic after classic. They interacted with the crowd, getting participation with songs such as “Dune Methane” having us all yell, “Dee dee da da dee dee dane.” Their flow was impressive, and it is nice to see a group who works well together, even when the dynamic is shaken up. They concluded their set with a Souls of Mischief classic, “93 till Infinity” and concluded with the crowd favorite, “You Never Knew” which had the entire singing along. It was easy to forget the fact that there were members missing, and get immersed in the music.
My one beef with the show was the somewhat unequal distribution of set time. Hiero and Blue Scholars were co headliners; Hiero got a longer set time. Hiero may be bigger, and around for longer, but overall Blue Scholars were a stronger show all around. Either way, it was a fantastic hip-hop show and like my friend said (it was her first hip-hop show), “It was life changing.” Both groups are ones to check out, and if you get a chance to catch them next time around, do not hesitate to see Blue Scholars.

Biggies Pick of the Week:

Ready To Die – The Notorious B.I.G.
[The Hit Factory, D&D; 1994]
It seems only fitting to select Biggies debut album Ready To Die as Biggies first pick of the week. So roll up your blunts and sit back for hands one of the best hip hop albums of all time. Personally, this album has a permanent spot on my top 5, usually bouncing from the number one and two spots, depending on my mood. Biggie is a natural storyteller. He weaves throughout these songs stories of love and loss, capturing the raw emotions of his life in the drug game. The beats are funky as hell yet allow for his rhymes to dominate the tracks, hitting hard and resonating with you for days. His focus on story telling is what makes him stand out among rappers, past and present. No matter what your mood, there is a track to fit your mood. Be it a darker love story, “Me and My Bitch” to a fat beat with lyrics to match “Machine Gun Funk” there is a song for any mood. He can portray a versatile array of emotions throughout these tracks, among the backdrop of drugs and violence that surrounded his early life. His unique voice is thick and low, which helps emphasize his smooth lyrical flow. Unlike some rappers, Biggies flow is that one that can really be followed, allowing for his rhymes to build off each
other and lyrics to hit you with full force upon your first listening. Biggie is one of the greatest MC’s of all time, and this record will last for just as long. So come March 9th, throw on Ready to Die, smoke a fat blunt and pour out a 40 in honor of one of the greatest lyricists of our generation, or any other.
[Nick Erickson]