Guida (S)Ragionata a Esse Esse War Volume 1 Più o meno due mesi fa, usciva in free download la compilation Esse Esse War Volume 1 , il primo di una serie di “mixtape”[1] tesa ad illustrare in maniera relativamente esaustiva quella che è la scena hip hop sassarese.[2] Ed in questo sta il maggiore trionfo e, allo stesso tempo, la sconfitta della compila.[3]
La “scena” sassarese, infatti, è affascinante per una serie di ragioni,[4] la prima delle quali è che non è una scena nel senso comune del termine. Infatti, a Sassari non esistono artisti sotto contratto of any label, professionally produced discs (except for a moment of reflection of games, one of the first movers in the city and one of the greatest rappers with a national following, that if the mix is \u200b\u200bmade in France) or old glories, even boiled , with a few battle scars. [5] These features can be seen in other important areas of the island, as Nuoro (cradle of "OG" Menhir, still active and godfathers of hardcore Sardinian) or Cagliari (home of former Sa Race / SR Raza, a group of historians of the period "posse," and other names once known as Maku Go & Sardo Tribe, among others).
yet at the level of rap fatto bene (qualunque cosa ciò voglia dire: per comodità, mi riferisco a quello con testi ben scritti e/o arguti, ben rappati a livello metrico, e basi musicali ascoltabili ancora dopo un mese dal download), né Cagliari né Nuoro, se uno è onesto intellettualmente, possono essere minimamente paragonate a Sassari, oggi[6]: Nuoro per motivi prevalentemente numerici, Cagliari per motivi storico/culturali.
Infatti, se a Nuoro non mancano gli MC (molto) validi dal punto di vista tecnico, è forse l’esiguità dei partecipanti a costituire il punto debole della città barbaricina. Cagliari, invece, sebbene capace di assurgere spesso alle cronache (quantomeno quelle di defunti magazine “mitici” as Aelle ), has historically been poor in terms of their technical, concerned instead poses poseur [7] that replicates the West Coast in cafonerie myrtle and olive sauce. [8]
As I said, the paradox They interest of War Volume 1 They are both in the fact that the Sassari is a "movement" which, although also the most naive observer can not fail to consider not intended to go anywhere, it shows life and, More importantly, eminently successful from the point of view "art" [9].
course, that the compilation highlights is that the signals are often contradictory, the directions are often not yet matured, and pieces of quality (sonic and lyric) fluctuating, but some (pleasant) confirmation will certainly take [10].
Sassari is not Milan, where the kids by getting "uncle" can dream of becoming the new Dogo, whatever that is, [11] and is not Rome, where the ghosts can be exorcised by blows of vice and nihilism (indeed) fictionalized style Romanzo Criminale and / or truceklan.
Sassari is a place of deep social unrest, in which people reject that which elsewhere is the most logical alternative, although painful to leave. A Sassari
the adjective "Urban" carries only negative characteristics: it feels in the cement and real estate speculation. All you have good urban agglomerations (squats, for cultural events, concerts, to name just three), does not exist in Sassari.
Sassari, for better and mostly for worse, is not "cool". In Cagliari, I saw a concert by Sonic Youth (!), Sassari at most a few good Italian band (type Afterhours) [12].
A Sassari, rap if you're not even an "enemy" or one to be curbed. At most you're one strange. The fascists and spoiled children go to the disco, and the consumer society have already won with their big car and the easy cash. Others, such as those They They War Volume 1, is the microphone, the computer / sampler and two turntables (or controller) [13].
This is a common denominator to hold together the disc, not a celebration of "Sassari / sassareseria" (as well characterized, for better or for worse) [14], but a war of decibels by shots that taste more desperate anti-social, filtered through an imaginary antagonist (a little 'horror-metal, to times, see samples of the films used as intro) and Technical Fair. A
Sassari, no one can afford to rap about money, cocaine and whores: first because no one has enough grain to do so, and because America (figuratively and literally) is really far away.
The cops do not pounding, and at the same time do not corrupt: [15] so all that's left is to buy a bit 'of alcohol and some spinel and din of addictive substances and especially music. Music
that from the point of view of style, has relatively few points of homogeneity, for the truth. In They They War Volume 1, if the Flow Gremi become bearers of an aesthetic rather "dark" (the debtor of certain productions of Dr. Dre and Eminem in a broad sense, it would seem), the Ashtra Gubba opting for a sampledelia " trash " 80. If the South's Seed shall conform to think of a more paradoxical "Dirty South" in Sassari (Auto-Tune and like 808 shots included), the Rigantanti remain on the soul classic. If Cosimo Martinez follows a trajectory more power and "modern", the record succeeds in Raighinas Syl Johnson under a pillow. [16] Not to forget the boom-bap classic mid-90s on which Giocca carves up the anthem Sassari rapping which all the protagonists of the disc and the groove of the West "smokin 'life" Senka. By
digress for a moment, perhaps this is the most visible failure of the "scene" hip hop Sassari (But not only): While the metal counterparts rappers dream (probably) to make records with the stylistic cohesion of an album of Sabbath, Slayer or even Marilyn Manson, who belongs to the hip hop generation today grew up with albums generally " patchwork, can not conceive the idea of \u200b\u200bcompact sound at all [17].
Just a few of the members of the scene Sassari able to build a strong musical identity, we'll see if they'll drop the assumptions of what led me to write here. [18] In terms of
ways, things are simpler and more complicated at the same time: the protagonists are often mixed on the trail, and when this happens, mingle together.
As I said, a feeling prevails "antagonist" and "damn", but between the metaphors and punchlines hint at an attempt to create their own personal world, beyond the music. And that is a blend of the Italian Sassari slang and expressions in American bastardization further. All this should be noted, occurs smoothly and not, as was the case for the hallucinatory construct a false Cagliari-Mexican youth slang of the SR-Raza, with a rigid bottom frightening and incomprehensible logic (if not within the aping solutions hip hop USA).
What is clear from listening Sassari is that there are no rappers "scrausi" in the true sense of the word: some are better and / or more interesting to listen to, some are more "closed" than others, but no one ever leaves that bitter in the mouth [19] remaining after listening to the alleged "big boys" of the scene in Milan or Rome, to name the places they leave some of the most famous rappers of the moment [20].
The rest are songs, but songs that identify a "scene "that if the boundary conditions were different, could have their say. [21] The
December 8, 2010, the mixtape They They War Volume 1 has become a performance Art in a nightclub in Sassari: The entrance fee was 5 Euros, and they were removed over a hundred. For a scene that there is an achievement not to be underestimated [22].
Small guide to crew esseesse War (in alphabetical order) :
Ashtra Gubba: duo Sparro and Nepa. AG stands for high-level texts often and kind (sometimes) super technique, and beat (by Sparro) with 80 samples. Pass, I hope, though in truth AG is one of the groups that are working at the level of cohesiveness music (and the results are certainly personal). I'm sure if Sparro lived in Milan would be known throughout Italy.
Klandestina Brigade (or BK): trio Konflitto, Sam61 and B-Raid. BK draws its inspiration from the most politicized moments of the phenomenon of the posse. Apart from a few fall into the rhetorical (forgive the choice of that particular sub-genre of rap), a criticism that can move the group is sometimes sins of identity in the sense that Konflitto often goes more towards the political and Sam on the "social". If they did the soloists, perhaps we would gain.
Gremi Flow: Maru, Shine e Carne (il nome peggiore di tutti i rappers sassaresi) sono fra gli MVP del disco Esse Esse War Volume 1 . In particolare Carne se la cava molto bene anche come produttore. Appena imparerà a variare un po’ le tracce di batteria e i suoni del drumkit, diventerà uno dei più bravi di Sassari (e non solo).
MCP/Morto che Parla: Senka e Josè Quervo (il nome migliore fra quelli dei rappers sassaresi e uno dei migliori d’Italia certamente) hanno nel DNA il funk californiano, ma anche il gotico in moviola di Soul Assassins-Psycho Realm. Senka, in altre condizioni, avrebbe i numeri per essere una “stellina” della scena italiana. Dovrebbe andare away from Sassari.
NBT: Eman and crew made Cosimo Martinez, stands out in a rap a little 'closed' and beat a discrete bill. Should I hear more stuff, I admit.
Raighinas: Young and Don Malo Futta Carbonazzi to represent the face of more "tirriosa" (angry) rap Sassari. They eat "the most hardcore rotten" and, apart from some loss due to inexperience, are Bravini from the technical point of view. We'll see how it evolves from the point of view eminently musical.
Rigantanti: Kabaddu and Vlade are the rappers look less angry and more ironic Sassari, and count among the influences also the rhythm (riddim) Jamaican. They are among the few to ennoble the inherent roughness (in slang "grezzuria) cionfraiola of Sassari. The intro Janine is a classic.
South's Seed: for me the idea of \u200b\u200bbases rap "modern" in Sassari is definitely a loser, but maybe I'm being a dinosaur. [23] In any event, the kids are young and will improve, I guess. Musically speaking, what it lacks in originality it put in execution (translation: even if I do not like the beats are well done).
WooDoo Clan (Clan or Ganja WooDoo or GWC): The largest group of historical Sassari, made Giocca and Moza (there is also Bolder), which is now united Bantu G (ie, Gaelle, the wife of Giocca). Giocca Moza and could not be more different in style and personality, but when 'almost always work (and have produced billions of demo). A single, usually Giocca is funky-soul and Moza paranoid and stone. And that's okay.
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. [1] This term, borrowed from American, they usually designate products not "official" put together by DJ circuit typically "street". Although nowadays are no longer or tape (tapes), or (often) mix, the name stuck, even to indicate that che in questo caso sarebbe forse più corretto designare come “street compilation”.
[2]. Mancano alcuni gruppi e/o personalità importanti nel contesto cittadino, ma sono eccezioni che non inficeranno i ragionamenti che tenterò di sviluppare più sotto.
[3]. Ad oggi (8 gennaio 2010) pare che il CD sia stato scaricato, download più, download meno, circa 800 volte, che mi sembra un numero tutt’altro che disprezzabile, tutto considerato.
[4]. Da piccolo, parteggiavo per i Cartaginesi e per gli Indiani d’America. Da grande, ho apprezzato la Def Jux e i Dictators. Il mio regista preferito è David Cronenberg. I affinity for losers class.
[5]. If I ever put out something, maybe I could qualify as "old glory boiled," but it has never been, and therefore Boorish Crew, as the first rap group of Sassari (I challenge anyone to prove otherwise) from 1991 remains a sort of ectoplasm from "Greatest Story Never Told" and nothing else.
[6]. It's no offense: in essence the argument is that the scene of Sassari, but not going anywhere, is one of the best in Italy for quality / quantity.
[7]. Bella etymological figure .
[8]. How can we forget that masterpiece of unintentional comedy Dogs Taking La Fossa?
[9]. To use (cheeky) the term "art", see what was written by Stewart Home in the introduction of the Culture Assault (AAA Publishing, May 1996), especially in note 7.
[10]. At least for those who love the class of losers, that is.
[11]. I suspect most of the accounts in terms of image, in the hip-hoppers around the island, not that of its bank account.
[12]. The Ramones I consider them a step (and the exception that proves the rule), especially since the coupling with a support band Sassari least unlikely (without naming names, for once).
[13]. Of course, in a purely selfish, I hope that continues, at least as regards the production of rap.
[14]. See what the late President Cossiga had to say about "cionfra", the phenomenon of being Prince of Sassari.
[15]. They go to other tours, more profitable, of course.
[16]. That it seems an insult, but it is not. The base, incredibly "muddy", so that practically bury any high frequency of the sample, making it perfectly, making music to be counterbalanced by the attempt to express anger at the "same shit," vehemently hated by the authors of the piece.
[17]. Yet the examples of "cool" there would be, without resorting to force Marley Marl and the Juice Crew, or Eric B & Rakim (my obsessions, of course): Mobb Deep height of his career, the Wu-Tang Clan in the first three discs (group), and even the vintage Death Row (Tha Chronic all). Or, in the conscious area, records of the common products virtually in toto from J Dilla.
[18]. I doubt it, but it would be very interesting to be proven wrong: imagine if the next Fabri Fibra Guè or Pequeno (I speak only of popularity) was born in Sassari.
[19]. One Word to Kaos.
[20]. Too easy shot at the Red Cross, but I have to mention Surf for strength.
[21]. In all honesty, I must also say that maybe, if things were different, the scene would probably be less interesting, for sure.
[22]. In the final analysis, a breakdown of the individual songs they They War Volume 1 does not make sense: more or less all they're doing well. For this writer, is more interesting is the meaning of They They War Volume 1 come rappresentazione della Sassari hip hop.
[23]. E se anche Termanology e DJ Deadeye se la menano con Kanye West e Lil, Wayne, forse hanno ragione i South’s Seed.
