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Yesterday I happened to see Almost True of Lucas, the "other story the rock. " Interesting exercise, on paper, even if already betting on Jim Morrison and Led Zeppelin on one (that I know little or nothing), I had seemed a bit 'over-constrained.

Yesterday was the turn of the murders of Biggie and 2Pac, instead of something that I knew.
course, a disaster. Now, I'm there I may as well keep that to seek a solution impossible, but an effect like that of an old woman (Mama Rose or whatever it's called) singing the gospel and make the killer rappers you can ignore some important facts, but the fact is unforgivable mess.
Skip the links between Bad Boy and Death Row, putting half in the Murder Inc., Irv Gotti, 50 Cent (who Lucarelli, undaunted, continued to call 50 cents for the entire drive), unlikely gang of Mexicans in LA (-Byz Latz, who has ever felt?), Rappers do not exist (Marlo?) I think its a crap, especially if coupled to general statements of a FBI agent infiltrated the music world and all that said the opposite of everything and the statements of a vague and superficial Luzzatto Fegiz like never before. Only two of the pearls Luzzatto Fegiz National: 50 Cent wounded in the language they acquired their own style in that way, and Puff Daddy who, despite being a rapist (!), Conquering beautiful women like Jennifer Lopez.
But it was said that had to be (almost) true, the bases of the transmissions?

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Robot Kaard - Overtime

Kaard Robot - Overtime

Punctual as always, back the prolific beatmaker Neapolitan Kaard Robot (aka Carmine De Maria, aka John Cardem, aka many other names), with Overtime , an album / EP DI13 done purely instrumental tracks (despite some effective voice and distorted).
Compared to the previously reviewed Calculator, which was inspired by atmosphere "Teutonic", here we are in different areas and more "modern". The vision is clearly different, and although the author's hand si senta, si vira verso un suono che riesce a coniugare melodia e paranoia in maniera quasi sempre ben riuscita. Robot Kaard riesce infatti a trovare la misura per quanto riguarda lo stile, ormai diventato, oltre che personale, riconoscibile: momenti urticanti che lasciano spazio a sghembe e scheletriche melodie che sembrano arrivare dallo spazio profondo.
In più di un momento, Overtime ci porta in territori che sembrano luoghi di confine fra l’elettronica e l’hip hop di nicchia (quello in stile Def Jux, per capirci), dove dominano le ritmiche “dopate” a media gradazione di BPM e i suoni filtrati ma pur sempre grassi e, in senso molto lato, funk.
Ad esempio, illuminating in this regard is the initial Attack, which would not be inconceivable to hear the staccato rap and wrapping of Aesop Rock. And if Cut Waving , with its rarefied atmosphere, lands us back in the purely electronic Digital Day, Smile and Too Paranoid carcasses seem holographic disc 80 pieces.
Effective rhythmic choices (although more powerful drums at some point would not have failed), and good instrumental variation, seeking uniformity of style. The moments more aggressive and "acid" as Light and Rue Boyer balance doped ones in a natural way and keep on a schedule that does not get bored. In this sense, the ability to keep almost always less than 3 minutes per song, by the author, is a test of intelligence, given the nature of the compositions, which seem to sketch faces to suggest the atmosphere, rather than songs performed. And as the playing field you choose, this can only be an asset.

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