Tag: Del The Funky Homosapien

Video by William Ruben Helms

New Video: Wax Tailor Teams Up with Mark Lanegan on a Brooding and Cinematic Single and Visual

Vernon, Normandy, France-based DJ, producer Jean Christophe Le Saoût is an acclaimed producer and DJ who can trace his career back to the 90s: After a stint as a radio host in the Paris suburb, Mantes-La-Jolie, Le Saoût founded La Formule. In 1998 Le Saoût founded Lab’Oratoire Records and continued to produce material from La Formule, as well as Break Beat compilations and a collaboration with Swedish act Looptrop.

The Vernon, Normandy-based producer and DJ started the critically acclaimed symphonic, trip-hop solo recording project Wax Tailor in 2001, first appearing on a remix of Looptroop and La Formule’s “Deep Under Water.” Since then Le Saoût has released five, critically acclaimed full-length albums — 2005’s Tales of the Forgotten Melodies, 2007’s Hope & Sorrow, 2009 In The Mood For Life and 2016’s By Any Means Necessary — which found the French producer collaborating with an eclectic and diverse array of artists from all over the world.

Le Saoût’s sixth Wax Tailor album The Shadow of Their Suns is slated for release tomorrow. The album is the French producer’s first bit of new material in five years — and album continues his long-held reputation for collaborating with a diverse and eclectic array of artists, with the album featuring guest spots from D. Smoke, Rosemary Standley, Gil Scott-Heron, Del The Funky Homosapien, Mr Lif, Yugen Blakrock, Boog Brown, and JOVM mainstays Adeline and Mark Lanegan.

The Shadow of Their Suns’ material comes as a result of a lengthy period of deliberate and deep introspection inspired by a desire to truly observe and understand life in a way that’s impossible while living in the whirlwind of it all. And considering the horrible events of yesterday, an album that encourages observation, reflection, collaborative discussion, cooperation and collective action seems more urgent than ever.

Video by William Ruben Helms

New Video: The Vivid and Surreal Visuals for Del the Funky Homosapien’s and Amp Live’s Swaggering and Mind-bending Collaboration

Born Teren Delvon Jones, Del the Funky Homosapien is an acclaimed Bay Area-born and -based emcee and producer, who can trace the origins of his music career to when he wrote lyrics for his cousin Ice Cube‘s group Da Lench Mob, which initially included the legendary West Coast emcee, filmmaker, screenwriter and movie star before they broke off into a distinct group of its own.

With the assistance of his cousin Ice Cube, Del released his 1991 solo debut album I Wish My Brother George Was Here, an album that was a commercial successful largely due to the popularity of album single “Mistadobalina.” Del wasn’t pleased with the limited musical range of the album and severed his production-artist relationship with Ice Cube for his sophomore album No Need for Alarm, an album that introduced the Oakland hip-hop collective Hieroglyphics, which featured Souls of Mischief, Casual, Pep Love, Del and producer Domino while bringing the Oakland sound to a larger audience. Interestingly, the album is also considered instrumental for expanding what would become the freestyle-based golden era of hip-hop.

Although Del didn’t produce another solo album for about five years, he collaborated on the Hieroglyphics crew’s 1998 debut 3rd Eye Vision; however, by the time he was about to release his third solo album Future Development, his label Elektra Recordsterminated his contract. Initially, the album was only available as a cassette through the Hieroglyphics website before being re-releassd through the Hieroglyphics Imperium label in 2002; but before that, he collaborated with Dan the Automator and Kid Koalain hip-hop supergroup Deltron 3030 and their critically applauded, 2000 self-titled debut and along with his Deltron 3030 collaborators on two singles on Gorillaz‘s eponymous, smash hit 2001 self-titled debut — “Clint Eastwood” and “Rock the House.” He followed that up with his fourth solo album Both Sides of the Brain, and Hieroglyphics 2003 sophomore effort Full Circle. 

Since then Del has managed to be incredibly prolific releasing albums both through tradition labels, as free downloads and with pay-as-you-wish efforts with specific incentives for those who pay certain prices for the album, including a chance to collaborate with Del in the studio and so on.

Amp Live is a Texas-born, California-based producer and DJ, who is known as one of half to the hip-hop duo Zion I, and for critically applauded remixes of material by Radiohead, Tokyo Police Club and Jamie Lidell. And as a solo artist, he’s released two albums and an EP — 2010’s Murder at the Discotech, 2014’s Headphone Concerto and 2017’s Atmosphere EP and 2011’s Therapy at 3, a collaborative effort with Eligh.

Interestingly, Del and Amp Live will be teaming up on the forthcoming album Gate 13, an album that sonically draws from and mixes hip-hop, funk and electronica while finding two of hip-hop’s most inventive artists collaborating with Goapele, Eligh, Simi, Zyme, Adult Karate, Mr. Micro and James Melo, essentially creating a “portal into something progressive, futuristic, and fun,” as the duo says in press notes. Interestingly, the album finds the renowned emcee evolving his imitable style, as he studied both comedy and battle rap, with Del making a concerted effort towards conciseness. “I told Amp about it, and he kind of showed me what his interpretation of what that would be,” Del says in press notes. “When I heard it, I thought it was tight. I didn’t even know he was going to do it.” Amp Live adds “Del has been talking about doing more straightforward, aggressive writing. Everything that I was messing with kind of had the same theme,” the producer says of the album’s tracks. “Even when I flipped them after, I tried to stay true to the original feeling.”
“Wheel of Fortune,” Gate 13‘s first single begins with a thumping, boom-bap beats and arpeggiated synths and Del’s imitable flow, complete with some of the most ridiculous word play, complex rhyme schemes and insanely funny punch lines you’ll hear in some time, as he throws massive haymakers at any and all who dare to battle him. About halfway through the track Amp Live drops a dub reggae break, which he follows with a manic tempo — and throughout Del effortlessly and dexterously handles it in a free flowing, almost mischievous fashion. Dope emcees being challenged by dope producers is what all hip-hop should aspire to, no matter what the era.

Shot and edited by Spencer Groshong at Ineffable Music Group, the video employs neon bright visuals and the sort of special effects reminiscent of a wildly psychedelic Sesame Street and 3,2,1 Contact.

Single Review by William Ruben Helms

 

Born Teren Delvon Jones, Del the Funky Homosapien is an acclaimed Bay Area-born and -based emcee and producer, who can trace the origins of his music career to when he wrote lyrics for his cousin Ice Cube‘s group Da Lench Mob, which initially included the legendary West Coast emcee, filmmaker, screenwriter and movie star before they broke off into a distinct group of its own.

With the assistance of his cousin Ice Cube, Del released his 1991 solo debut album I Wish My Brother George Was Here, an album that was a commercial successful largely due to the popularity of album single “Mistadobalina.” Del wasn’t pleased with the limited musical range of the album and severed his production-artist relationship with Ice Cube for his sophomore album No Need for Alarm, an album that introduced the Oakland hip-hop collective Hieroglyphics, which featured Souls of Mischief, Casual, Pep Love, Del and producer Domino while bringing the Oakland sound to a larger audience. Interestingly, the album is also considered instrumental for expanding what would become the freestyle-based golden era of hip-hop.

Although Del didn’t produce another solo album for about five years, he collaborated on the Hieroglyphics crew’s 1998 debut 3rd Eye Vision; however, by the time he was about to release his third solo album Future Development, his label Elektra Records terminated his contract. Initially, the album was only available as a cassette through the Hieroglyphics website before being re-releassd through the Hieroglyphics Imperium label in 2002; but before that, he collaborated with Dan the Automator and Kid Koala in hip-hop supergroup Deltron 3030 and their critically applauded, 2000 self-titled debut and along with his Deltron 3030 collaborators on two singles on Gorillaz‘s eponymous, smash hit 2001 self-titled debut — “Clint Eastwood” and “Rock the House.” He followed that up with his fourth solo album Both Sides of the Brain, and Hieroglyphics 2003 sophomore effort Full Circle. 

Since then Del has managed to be incredibly prolific releasing albums both through tradition labels, as free downloads and with pay-as-you-wish efforts with specific incentives for those who pay certain prices for the album, including a chance to collaborate with Del in the studio and so on.

Amp Live is a Texas-born, California-based producer and DJ, who is known as one of half to the hip-hop duo Zion I, and for critically applauded remixes of material by Radiohead, Tokyo Police Club and Jamie Lidell. And as a solo artist, he’s released two albums and an EP — 2010’s Murder at the Discotech, 2014’s Headphone Concerto and 2017’s Atmosphere EP and 2011’s Therapy at 3, a collaborative effort with Eligh.

 

Interestingly, Del and Amp Live will be teaming up on the forthcoming album Gate 13, an album that sonically draws from and mixes hip-hop, funk and electronica while finding two of hip-hop’s most inventive artists collaborating with Goapele, Eligh, Simi, Zyme, Adult Karate, Mr. Micro and James Melo, essentially creating a “portal into something progressive, futuristic, and fun,” as the duo says in press notes. Interestingly, the album finds the renowned emcee evolving his imitable style, as he studied both comedy and battle rap, with Del making a concerted effort towards conciseness. “I told Amp about it, and he kind of showed me what his interpretation of what that would be,” Del says in press notes. “When I heard it, I thought it was tight. I didn’t even know he was going to do it.” Amp Live adds “Del has been talking about doing more straightforward, aggressive writing. Everything that I was messing with kind of had the same theme,” the producer says of the album’s tracks. “Even when I flipped them after, I tried to stay true to the original feeling.”

“Wheel of Fortune,” Gate 13‘s first single begins with a thumping, boom-bap beats and arpeggiated synths and Del’s imitable flow, complete with some of the most ridiculous word play, complex rhyme schemes and insanely funny punch lines you’ll hear in some time, as he throws massive haymakers at any and all who dare to battle him. About halfway through the track Amp Live drops a dub reggae break, which he follows with a manic tempo — and throughout Del effortlessly and dexterously handles it in a free flowing, almost mischievous fashion. Dope emcees being challenged by dope producers is what all hip-hop should aspire to, no matter what the era.

 

 

 

 

 

Single Review by William Ruben Helms

New Video: The Futuristic Visuals and Genre Mashing Sounds of BASECAMP’s “The Hunter”

Now, if you had frequented this site back in 2015, you would have come across a handful of posts featuring the Nashville, TN-based electro pop trio BASECAMP. Comprised of producers and songwriters Aaron Miller, Aaron C. Harmon and Jordan Reyes, the electro pop trio can trace their origins to when the trio started to collaborate together to write. Quickly realized that they had a strong creative chemistry, the trio founded BASECAMP and with the release of their 2013 debut EP, which featured standout tracks “Emmanuel” and “Smoke Filled Lungs,” the Nashville-based trio received attention both locally and nationally for a genre-mashing sound featuring R&B-like melodies, thumping bass lines, percussive beats, unpredictable tempo changes paired with glitchy electronics and organic instrumentation. And as a result of the attention they had begun to receive, the members of BASECAMP toured across the States with CHVRCHES and Phantogram before signing to Skrillex’s boutique label OWSLA, which released their impressive 2015 sophomore effort Greater Than EP, which featured one of my favorite singles of that year “Watch My Back.”

Since the release of Greater Than, the Nashville-based electro pop trio have been rather busy, working on and releasing two stand-alone collaborations “Comfort Zone’ with Jamie Lidell and “In My Veins” with Del The Funky Homosapien, and the In Stone EP, an effort which further cemented the trio’s reputation for a genre mashing sound and tempo changes; but arguably with a greater sense of sonic and thematic cohesion, while revealing much more introspective songwriting. After successful tours across Europe and North America — with shows at TEDx, Colors Berlin and Summit At Sea — the trio released “The Hunter” Remix package, which features remixes from the trio’s friends and frequent collaborators — Jamie Lidell, Yeo and Deebs.

In the meantime though, “The Hunter” is a refinement of their imitable sound and production as the song finds the trio pairing earnest and soulful vocals with stuttering and glitchy beats, swirling electronics — and in some way, the song reminds me of Timbaland’s revolutionary collaborations with Missy Elliot and Justin Timberlake in the 90s and 00s and of Beacon’s The Ways We Separate and Escapements, thanks in part to a swooning, uneasiness that the song’s narrator expresses in describing a relationship that seems to heighten his own self-doubts and has him wondering if he is hunter or prey — or perhaps both simultaneously. It also captures the odd sense in almost every romantic relationship in which neither party could tell what their relationship actually is or what their intentions are; but both are fearful of the perceived inevitable heartache they expect.

Directed, by BLAWKNO, from the GLO.Digital collective, the recently released video uses 3D scans of each member and fuses CG with live-action video as a play on the concept of perception vs. reality while giving the proceedings a hyper futuristic and alien sensibility.

Single Review by William Ruben Helms

If you’ve been frequenting JOVM over the past few months, you may recall that I’ve written about Nashville, TN-based electro pop trio BASECAMP. Comprised of Aaron Miller, Aaron C. Harmon, and Jordan Reyes, the trio have quickly developed a reputation for a sound that equally draws from electronic music and the past 10-15 years of R&B and pop music; in fact, “Watch My Back,” arguably one of the best singles I’ve heard this year, and Greater Than‘s opening track paired silky smooth vocals with skittering percussion, glitchy electronics, chilly, swirling electronics, glistening synths and a tight, memorable hook to craft a sound that is reminiscent of Timbaland’s revolutionary work with Missy Elliot and Aaliyah.

The Nashville-based trio’s latest single “In My Veins” features Del The Funky Homosapien one of the more unheralded emcees around and Billie Black on a song that sonically manages to owe debts to classic house music and contemporary R&B as the song pairs arpeggio synths, stuttering and skittering drum programming, strummed guitar, wobbling low end and swirling electronics with silky smooth vocals on a sweaty and sexy dance-floor orientated track that compares lust and love to a powerful addiction. Chemically speaking, love is awfully close to being addicted to chocolate, caffeine and several other drugs.

Billie Black contributes some sultry vocals to the song’s hook while Del The Funky Homosapien contribues about 16 bars that expands on the song’s title. and compares being in love to shooting heroin — and in turn, being incredibly difficult to stop.

What “In My Veins” does is further cement the Nashville-based trio’s for slickly produced, sensual electro pop that clearly draws from R&B and dance music — in this case, house music — while possessing an emotional directness and thoughtfulness that seems all too rare.