Mochipet on Autonomous Music’s Va-Array Vol. 2

Va-Array Vol 2 (Autonomous Music – Free DL!)

Posted by cassetteblog | December 4, 2012 | No Comments
Translated by Bing

Autonomous Music is the type of projects that should exist in a heap. This organization uses music and performances live from an impressive list of artists as a tool for social change. Art as a hammer that hits the nail of the meanings.

His proposal is specifically political, and if you know even at some of the names of the musicians involved you will see that everything is more than real, that are putting force into a target clear and thus are making an important contribution. The roster is composed by Dj Vadim, Filastine, Quantic, Mochipet, Natasha Kmeto, The Polish Ambassador, Resident Anti-Hero, Octopus Nebula, Ott, Ott & The All-Seeing I, Ill-Esha, Emancipator, Alex B, Anomie Belle, Blietech, Conduits, Cry Wolf, Dr Israel, Etheric Double, Intelepaths, Invisible Allies, Little People, Marley Carroll, Papadosio, Paper Diamond, Paper Tiger, Phutureprimitive, Pnuma Trio, Random Rab, The Great Muandane, The Nadis WarriorsYppah and Unlimited Gravity.

Last November 28 have released their second compilation for so-called free descent “Array Vol 2″, which contains tracks from all of their artists.” As it is logical, because the reason that unites all of these names is not a musical line but an eagerness in common, styles that handles are the most heterogeneous. On this album they may listen to hip hop, house, future step, indie hop, IDM, synth hop, trip hop, dubstep, reggae dub, techno pop and electro. But mysteriously this stylistic explosion runs evenly. The disk draws a journey that will unveil the adventure of track in track.

A very good album with a very good proposal back.”

Deceptikon featured in The Seattle Stranger!

Dave Segal wrote a very favorable feature about Mythology of the Metropolis in this week’s issue of The Stranger!

Former Seattle denizen Deceptikon (aka Zack Wright) now dwells in San Francisco, but he remains a well-liked figure in the Emerald City and often returns here to ply his finely crafted cuts. His new album, Mythology of the Metropolis (Daly City Records;, is now available on the major digital retail sites and is selling like proverbial hot bytes.

Mythology of the Metropolis consists of 14 examples of crisp, vibrant, post-Dilla instrumental hiphop, with flashes of pretty IDM melodies and late-’00s bass wobble. Deceptikon keeps the head-nod factor high while wrenching out some interesting, exotic melodies. “Echolocation” genuflects to the Far East with its fluttering, quasi-Zen garden motif (à la Philip Glass in his Mishima soundtrack) set amid splatting, stalwart funk beats. “Indo Loops” also is riveting, with its distorted (presumably Indian) chant warbling over a sinuous synth drone, staunch Madlib-elous clapper beats, and furious, pitch-shifted tabla slaps. “The Fall of Humanity” majestically glides like 1977 Kraftwerk, while “Dissolving in Acid” lives up to its title, running crinkly Roland 303 squiggles through a dense thicket of kick-drum thump and toxic squalls of low-end pressure. “Broken Synthesizers” growls and bristles like a peak-time Cannibal Ox/El-P joint.

Along with similar works like Flying Lotus’s Los Angeles, Mux Mool’s Skulltaste, Nosaj Thing’s Drift, and Free the Robots’ Ctrl Alt Delete, Mythology of the Metropolis is mapping out a fertile field where IDM and dubstep’s textural playfulness and extremity tampers with hiphop’s rhythmic parameters, but without causing fissures in its essential funkiness. Exciting times, indeed.

Thanks Dave!

MusSck Review on Chrome Kids Blog!

Daly City explores something of a deeper sensitive side to their soul with their new signing, London producer MusSck. Still keeping it glitchy and in the realm of Hip-hop’s cyborg reconstruction, this album is more subtle then previous label releases, conjuring up open rolling virtual plains to wander through. Playful yet emotional, there appears to be a fairly comprehensible story being told from track to track and chapter to chapter, let’s hope there’s many more volumes to come.

You can buy The Land Of Animation now here, but to give you a taster here’s one of the tracks plus a promo mix to check out.

Link to the Article

Spaceheater’s Blast Furnace Review in East Bay Express


Spaceheater’s Blast Furnace

Spaceheater’s Blast Furnace

By Rachel Swan

The flute is perhaps the only woodwind that beats the soprano sax for girlyness, but Evan Francis has a remarkable capacity for making it seem masculine. Perhaps that’s because he plays the flute just as well as he plays the tenor sax. Which is to say, he manhandles it. Aside from being a hefty instrumentalist, he’s a terrific composer. Francis wrote seven out of ten tracks on Spaceheater’s Blast First, the new self-titled album by his sextet. Recorded last year in San Francisco, it’s a combination of shifty horn lines, Afro-Latin drums, and electronic studio effects almost entirely denuded of vocals. People with flute allergies will ultimately learn to appreciate — even love — the instrument, especially after hearing the weird way that Francis interacts with saxophonist Marcus Stephens and trombonist Danny Grewen. It’s almost like hearing three people read the same paragraph simultaneously, but with totally different vocal intonation.

Spaceheater spawned from the Jazz Mafia cabal, and originated as a duo with Francis on woodwinds and producer Bill M. mixing beats. The expanded version is distributed by Daly City Records, home of Mochipet and other DJ-centric acts. Normally a jazz combo would seem out of place in such environs, but Spaceheater isn’t really a jazz combo — not in the traditional sense, at least. Rather, Francis likes to experiment. He’s the composer’s equivalent to a restless teenager, always shifting grooves or mixing and matching, setting a busy drum pattern against an equally busy — but unrelated — horn part.

On some songs (“Persistent” and “Interlude”), he adds electronic sounds to make the music sound live and synthetic at the same time. The horns seldom fall in lockstep with the rhythm, but that’s what makes it interesting. There’s no question Francis is on to something new. (Ropeadope)

Master P Review on Comfortcomes


Mochipet’s latest album Master P on Atari reminds me of Transformers. The skillful electronic mix of miscellaneous sounds hit at just the right times and could be part of the soundtrack for those metallic, alien protectors of the world. The album cover even sports a creature somewhat transformer-like, however, this machine has a badass tape recorder and Atari joystick at its center.

The first thing I noticed while listening was that I didn’t mind the fact that there were no real vocals. I’m all about the words, but I think Master P on Atari is a full album despite its lack of lyrics. The album is intricately layered and emotive the same way a voice can lead a listener to feel a certain way.

That certain way in this case is the feeling that I’m in the middle of an action movie breakneck car chase. Police sirens went off (going the opposite direction, I might add) as I was listening to Master P on Atari in my car and I swear I almost sped up and veered off the main drag to lose them. I may be more easily influenced than most, but I was definitely adrenaline-laced due to this album. Which I loved. A fun, inventive album, Master P on Atari had me invested. And driving like a maniac.

By Eva Gross

Review on

Doktor Krank – Master P on Atari Review