Ode to Bartleby
Release date: Nov. 11
In the way that DJ Shadow re-defined instrumental hip-hop or Boards of Canada re-shaped headphone IDM, Dirty Elegance’s new album, Ode to Bartleby, is so masterfully done electronica must recognize another watershed moment. Certainly there are familiar sonic landmarks: “Style Rider” ventures into the moody strings-tinged cinematic mode of Blue Sky Black Death, while “The Scrivener” smacks of DJ Krush with somber piano and mournful trumpet. And yet while other tracks’ whirrings, stuttering beats and chiming tones should get the attention of Four Tet and Amon Tobin diehards, Ode to Bartleby still emerges far, far greater than its evocative parts. Cunningly textured and extremely magical, this is the new Endtroducing, the new Music Has the Right to Children.
Искренне удивляюсь, как это до сих пор никто не представил этот чудесный альбом у нас на хорошем? Ждал ждал...
"Внутри желтого листа" это четвертый полноформатник Грязного Изящества. И музыка в нем под стать названию проекта, местами грязная, местами сырая, местами вообще непонятная, но несомненно она очень изящная и элегантная, я бы даже назвал ее аристократической. Альбом целостный такой и очень теплый, а главное большой!. Конечно имеется и несколько невменяемых треков, но они общей картины не портят а наоборот как бы не дают унести в открытое море трип-хопа и там утонуть, возвращая нас на твердую почву. Трип-хоп плавно перетекает в айдиэм и обратно, так что порой и не сразу улавливаешь где начинается одно и заканчивается другое. Dirty Elegancе это однозначно музыка для гурманов.
(Very poor Russian to English Translation)
I sincerely wonder how it is so far no one has presented this wonderful album is for good? Waited waited ...
"Inside the yellow leaf" is the fourth full-length album Dirty Grace. And the music in it to match the name of the project, sometimes dirty, sometimes wet, sometimes even incomprehensible, but no doubt she is very graceful and elegant, I would even call it noble. This album is an integral and very warm, and most importantly great!. Of course there is also some insane tracks, but they do not spoil the overall picture but on the contrary would not give a blow to the open sea, trip-hop, and there drown us back on solid ground. Trip-hop blends in aydiem and back, so sometimes not immediately You catch where one begins and the other ends. Dirty Elegance is definitely music for foodies.
Little background: Dirty Elegance is - once will not hurt - a discovery Myspace. A risky invitation as we receive dozens and surprisingly easy listening first and enchanted. Intriguing. 6 titles in listening at the time (and even now) and 6 power tubes without however the gentleman is produced or even just (re) known in France. Curious as it is there to trip-hop and more of a trip-hop of a rare quality, perhaps (and I mean it) one of the best albums of its kind since its origins. Just that. You were looking for new blood in here one, and the best rose.
But behind the crass elegance of this album? Well ... it is not because they have dug! Some exchanges Myspace fan very friendly at first (starting with a small board of listening: Wax Tailor which it could be a close relative) American Mystery, but quite accessible and open to the tone of a Love, peace and respect he signs each of its messages without ever leaving reflected anything too personal, a bit like these electronic artists that nobody knows the face. In spring still a strong belief that it does not produce the music but consists of emotion ... Perhaps it is the secret recipe of this work exceptional in every way from beginning to end except as Solicitude a tone below the rest ... except that at this level, it's nitpicking. It is true that with 18 tracks (out of 19) at the forefront of what can currently be heard, it seemed difficult to ask for more.
But the album in question? Finding Beauty In The Wretched opens with a certain lightness as a lively open book whose securities enchaineraient with urban coherence rainy until the last note of the album like a Pomegranate (This sound illusion ). To get to the bottom, ask yourself and listen. MP3 player and a stroll through the streets of a big city on the stroke of 3/4 o'clock in the morning in the ideal. Then you will realize how all is working, wanted, licked millimeter. No need for 15,000 plays. Just one. A tiny. Those that follow will be used to convince you that you're not dreaming. The music is dark and gloomy but not hopeless. Progress is here as a nocturnal wandering through a New York where meetings can multiply. The pieces allow pride to instrumentals neon-lit, littered with little sounds, little tricks, little more time with by a female voice (Aural mystery, Leaves of autumn or Gobble) which lalalise all in small print or Another very hip-hop (Eternal infamy) plus returns inside.
But there is no need to peel the whole track by track ... Finding Beauty In The Wretched is a great all tightrope walker who is not afraid altitude. Preferences have the same tendency to change depending on the mood or time sensitivity. The album is large and very open, easily accessible but not simplistic. And this is probably where the pledgor Dirty Elegance that is needed already as an artist of the highest caliber which I personally expect the next album (which at last count, will be soon) with lots and lots curiosity ... and impatience!
Love, peace and respect in New York and grime elegance.
Age, Location: Current and Birthplace, Musical Training,
Born in the west, reside in the east, old enough to vote, young enough to know better, with much training within the walls of the hard knocks, I will never divulge my deep bag of secrets.
Who are your musical influences? (Past and Present)
Dj Shadow, Kruder & Dorfmeister, Dabrye, Boards of Canada, Telefon Tel Aviv, Populous, Prefuse 73, Jedi Mind Tricks, Aphex Twin, Amon Tobin, Portishead, Trentemøller, Massive Attack, Edit, Sigur Ros, Tupac, Tori Amos, Wax Tailor, AIM, Cannonball Adderley, Miles Davis, Michael Brecker, Linkin Park, Grover Washington Jr., Jurassic 5, The Pharcyde, Jay Z, Sufjan Stevens, Craig Armstrong, Darren Rahn, The Go Team, Sneaker Pimps, Aesop Rock, Sole, CunninLynguists, Eyedea…this list could go on forever… A couple up and comings to keep your eye out for… Idiom of Sad, and HYPERLINK "http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=34729976"CYBO³… great music…
Where do you record - home or studio? How long did it take to record this
album? Artistic contributors?
Most of the tracks from ‘Finding Beauty In The Wretched’ were produced and recorded in my Manhattan studio…a couple from my home studio. You can find artistic contributors throughout… I’ve worked with many fierce talents…. A couple being; Tre Hardson (formerly from The Pharcyde), Kelly Levesque (Universal Classics), Channel Zero (now StarkLove – with debut album, ‘Only The Paranoid Survive’ (myspace.com/starklove) dropping sometime summer 2007), Chris Thomas (The Burner Brothers) etc.. All very talented, driven, and passionate friends… Although, this album would cease to exist if it had not been for my muse, and future wife Y-lly (featured on Eventide). She is the light within my darkness…
Under which genre would your music be classified? Please explain. The label Trip Hop has been associated with your music? Would you agree? How is this different from Hip Hop?
This is kind of funny… I wrote this album, as I write most my music, with genre awareness being almost obsolete. It’s been labeled Trip-Hop, IDM (Intelligent Dance Music), Down Tempo Electronica, etc… I guess I’ve incoherently incorporated these genres, along with elements of live instrumentation, and the occasional hip-hop styled verse… It’s a very eclectic sound. I’m really into vocal production, and am going to have more lyrically styled tracks on my next album.
Are your family members musicians, activists, etc?
My father is an attorney (poet at heart), and my mother, an amazingly talented painter. My only sibling, a younger brother, is quite the intellectual.
What are/were the life experiences that encourage you and influence your
Life encourages me… Death influences me… We have such a short amount of time… To touch others… To create, and to inspire… To try and understand, and to learn.
Can God help one find beauty in the wretched?
God has helped me to find Beauty In The Wretched… I have been blessed with such opportunity… and creative energy. Now, when I speak of God, I do not speak of the church. I speak from a spiritual standpoint. The church is a very controlling, confining, and manipulative institute in our society. Taking advantage of our fears, and creating such illusions… if you don’t go to church, you will burn in hell for all of eternity. Now, please give as much as you can, pray for your evil, filthy sins, and be on your way. See you next Sunday… Hey, wait a minute, weren’t we supposed to make Saturday our holy day? This box stunts our spiritual growth…
What is your take on Hip Hop's accountability in the recent Don Imus
debacle? What is your opinion on Russell Simmon's call to action
(censorship)? How does capitalism play into this issue?
I think Russell Simmon’s is on to something… We should censor nigger, bitch and hoe! But, we should continue throwing millions of dollars to our crème de le crème: Where would we be without:
“I pop shots hot glocks shoot through vans too,
oh boo bop blew ban boo move,
and i'm fo really with this milly yo,
leave many hoes like the cereal cheerios,
you into funny money,
i'm raking the silly dough,”
~Back Again Lyrics
Take the “hoes” out, and we have some quality thought, with inspiring insight. Censorship’s not the issue, it’s who we place into the spotlight… If we continue glorifying shit, then shit will continue. We don’t need to ban anything. We need to think twice about who truly deserves, and has the right, to speak to our masses. We don’t hire crack dealers to teach in our schools. Why do we allow them to teach our children through their music, and label it art? I have a very close friend who’s addicted to heroin, and he worships the ground Santana walks on. Even going as far as to venture in “the danger zone”, willingly, with hopes of not only scoring his next dosage of dope, but, paying homage to his “favorite” mc’s images created from bullshit lyrics. Plus, if we start allowing censorship now, where will it end: Whitey, wapanese, roundeye, pretendian, peckerwood, paleface, ofay, honky, coon, crow, darkie, golliwog, jogaboo, Jigga (watch out Jay, might need to edit your next one), Ching Chong, Bule, Gubba, gweilo, flapdragon, fritz, dago, ginzo, szwab, ruskie, ivan, wop…what about slut, chicken head, skank, dime, jizz bag, and promiscuous cunt. Once the censorship nutsack begins a rollin’, who’s to say it will ever stop. There are too many chins in the way for that to ever happen.
As for Imus, he fucked up. You can’t say that shit in our society. Too many people with too many chips, everywhere you look. Black, white, brown, yellow, tan…
What are your political views on the War in Iraq and our Administration?
Vanessa, are these questions going to affect my chances of acquiring a label deal?
I’m a conspiracy theorist. The war in Iraq is ultimately over oil control + money = ultimate power. Our world is rolling downhill, and our current administration is doing little to prevent anything negative, and everything to aid in our downward spiral. The worlds climate is off kilter, icebergs floating, ice sheets breaking, more ice melting, floating away, there’s over 1,065,070,607 people in India alone (and that’s from a July 2004 census – it’s probably closer to 10 billion by now), species are dying, ecosystems are changing, 400,000 deaths in Darfur, 32 dead at Virginia Tech, ozone deteriorating, nuclear concerns in Korea… How many minutes do we have until doomsday? Two? It’s such a shame, because the world is a really beautiful place, if you just stop to gaze at it… All the life, all it’s glory. It boggles my mind to try and contemplate how every living entity of this planet is essential for all life, as we know it. And when we start chopping certain pieces out of our perfectly balanced pyramid, everything else WILL fall. Fuck Chevron, fuck Exxon, fuck Texaco, fuck shell… fuck Nicholas Cugnot for inventing the car, and fuck Henry Ford for exploiting his invention. What’s the difference between a car and a nuclear weapon? I guess it’s the same as a cigarette to a needle full of stupid (heroin). One will kill you faster than the other, but they will both get the job done, sooner or later.
How would you feel about your political and social views affecting the
reception of your music? (Ex: Dixie Chicks on President Bush)
Well, my music, for the most part, at least my first album, Finding Beauty In The Wretched, is mostly instrumental. I want to make people feel… I want to inspire… Thought as well as creative expression… And not necessarily my thoughts… but their own. And the lyrics I do create, aren’t situation specific, but open for interpretation. My political views, social views, and global views are just that… mine… I’m not saying I’m right, and I’m not trying to shove anything down anybody’s throat. I just want people to think for themselves… question our existence, our purpose, our actions, and the reactions that will be caused in return…
Should artists always communicate their political and/or social views in
their music? Is it their responsibility?
I think it’s really up the artist. Everyone has the right to be heard, unless you’re planning on using nigger, bitch, or hoe. Everyone has their own opinions and their own beliefs. And the consumer has the option of whom to focus on, and listen to.
“I see the world for what it is, beyond the white and the black
The way the government downplays historical facts
'Cuz the United States sponsored the rise of the 3rd Reich
Just like the CIA trained terrorists to the fight
Build bombs and sneak box cutters onto a flight
When I was a child, the Devil himself bought me a mic
But I refused the offer, 'cuz God sent me to strike
With skills unused like fallopian tubes on a dyke
My words'll expose George Bush and Bin Laden
As two separate parts of the same seven headed dragon
And you can't fathom the truth, so you don't hear me
You think illuminati's just a fuckin conspiracy theory?
That's why Conservative racists are all runnin' shit
And your phone is tapped by the Federal Government
So I'm jammin' frequencies in ya brain when you speak to me
Technique will rip a rapper to pieces indecently
Pack weapons illegally, because I'm never hesitant
Sniper scoping a commission controllin the president”
Revolutionary Volume 2
Some artists, more in your face…once again…everyone has the option… Individual thoughts… freedom to believe… freedom to explore… freedom to ponder… freedom to chose.
Our society places a great deal of importance on the visual and it is
utilized as a vehicle in communicating with the masses. We naturally
identify and associate. Would you reconsider sharing your personal image if it drew a larger curiosity and connection in your's and to your listeners'
I'm not sure... I mean, I'm a looker, but I view any photo opportunity as a chance to display my photographs and artistic images... I try and capture the 'essence' of what dirty elegance, 'visually', means to me, through every image. It makes me ill to see how optically driven our societal consumers are today... I sometimes sit and wonder how our society would be different without any form of reflective surface... If it were impossible to see a reflection of one’s own face, how would we act differently, as a whole? Physical image has nothing to do with music, yet, in our society, it does. Did it always?
You desire to inspire art and passion, and your poetry encourages awareness and self- definition. In what context or space would one normally be introduced to your art/music?
What context or space would be ideal?
I think my music can be, and is being introduced through today’s standard mediums; radio, tv, and a ton of digital distribution all over the world… I’m in the process of developing my stage performance now… I would like to begin my European tour in a couple months. I’m not sure if there is one ideal setting for the listener to be introduced to my music. Life goggles uniquely very from person to person, and everybody’s sense of reality is different…
SHOWCASE: DIRTY ELEGANCE
'Is a philosophy of indifference conceivable?'
A more obscure artist, even, than last showcase, Dirty Elegance is rather intriguing and one I can only attempt to explain, or at least describe. Again, first I will let those who know what they're talking about take a crack at it; the following except is taken from his LastFM entry: 'Dark, melancholy and hauntingly epic melodies interwoven with city grit and prowess into the human easel of emotional experience, Dirty Elegance's debut, Finding Beauty In The Wretched, takes its seat at the seminal table, innovatively capturing the depth of the human condition while maintaining a non-genre specific consistency. Passionately expressing a bountiful palette of emotional experience, Dirty Elegance introduces himself to the world with seeds of timelessness and gifts of audible ecstasies... Finding Beauty In The Wretched is not to be overlooked.'
That's a pretty good place to start. These are songs based, not on lyrics, but on sound. The genre is 'trip-hop', and they definitely aren't conventional. The voice is rarely used to sing lyrics, instead used as an instrument along with the other various elements of their songs. The artist often include excerpts of other works in songs that (I believe) work thematically with what he's aiming to achieve. There's a kind of beauty in his mysterious sound, and it resonates.
I'm quickly learning that this album is much deeper than I've given it credit for, and that it will probably go against the artistic intent to post individual mp3's. I honestly think, to get a real feel for it, it should be listened as a whole, not on shuffle. However, I believe that these samples will give you a understanding of what to expect, so you can get it and try to dig into its meaning yourself.
Dirty Elegance - Foreworld (Sendspace link)
The CD begins with a reading, one which I was not initially familiar with. Google identifies it as a cut-down version of 'The Perils of Indifference', a speech delivered at Washington DC on April 12, 1999 by Elie Wiesel, best known for Night, his memoir about his experiences at a Nazi concentration camp. The speech centres on the emotional aftermath of the traumas of war, and how they cause a sense of indifference. It's an intriguing opener, and backed with a melancholy, soul-aching tune that really nails home the essence of the reading. This, despite its oddness, is probably my favourite part of the CD, and I'm glad it steered me toward this interesting speech. This is hardly the last reference to this speech, as another track, 'Eternal Infamy', is named after the words he used to describe the particular camp his experiences occurred in, named Buchenwald; and Laurel Marty Scrapings (see below) also has brief excerpts from it.
In finally looking into these excerpts, which I admit I never felt I had reason to until now, I'm beginning to uncover a theme. for example, Jury and Hick and Engloutir both contain excerpts attributed to Charles Manson, though I can't uncover exactly where from. Here's the speech(?) in, I think, its entirety, with portions used in the songs bolded (any flaws kept from source):
"Remorse for what? You people have done everything in the world to me. Doesn't that give me equal right? I can do anything I want to you people, anytime I want to because that's what you've done to me. If you spit in my face and smack me in the mouth and throw me in solitary confinement for nothing, what do you think's gonna happen when I get out of here?
Maybe I haven't done enough; I might be ashamed of that, for not doing enough. For not giving enough, for not being more perceptive, for not being aware enough, for not understanding. For, uh, being stupid. Maybe I should of killed four or five hundred people, then I would of felt better. I would have felt like I really offered society something.
You've got it stuck in your brain that I murdered somebody. What do you wanna call me a murderer for, I've never killed anyone! I don't need to kill anyone! I think it! I have it here!
This street is my world. I don't, uh, I don't pretend to go uptown and be anything fancy. I can, but I find more real in the world that I'm in than I do the tinsel. And the real world is the one I have to deal with everyday, ya know.
Believe me, if I started murdering people, there'd be none of ya left."
- Charles Manson
Another track, Angelic Remedy, includes the quote from Malcolm X: "We love everybody who loves us. But we don't love anybody who doesn't love us."
I haven't listened to this CD as extensively as I could have, so there are most likely more excerpts of the same fashion which contribute to what I believe will be the album's overall theme. One of these days, I'm going to sit down and really listen to this, as I feel there's a lot I'm at present unaware of in this album, a lot that could be mined from it. That said, those songs with these excerpts aren't my personal choices to include here, so you'll have to uncover these tracks on your own.
Dirty Elegance - Accouchement (Sendspace link)
This song, a piano and vocally-driven song, works without the thematic excerpts, giving an interesting listen with a lot of layers. It's quite beautiful, if unusual. Honestly, give it a listen, don't rely on my words because I cannot describe this music to you in a way that could do it justice.
Dirty Elegance - Laurel Marty Scrapings (Sendspace link)
More piano with different sound effects somehow making the song instead of ruining it. This also includes brief excerpts from 'The Perils of Indifference'. Again, impossible to describe; just give it a chance.
I'm still working my way through this album, but it's much more interesting to me now than it was even a few hours ago. Enjoy.
I have tracked down his official website, which had this to say:
The movement started with one Dirty Artist whose soul was touched by the Majikal Angelic One. They started down the road to Elegance together and paused long enough to find the Madman Genius from the Core. Together, with the Master Artiste, Dirty Elegance, as it stands today, was bourne.
Dirty Elegance is not music. Dirty Elegance is not art or pictures or clothing, though the emotions which comprise the movement may be reflected through these creative mediums. Dirty Elegance is an idea. An idea that beneath the soot filled superficiality lies a classic greatness. A re-instating of something that once was valued but has since been forgotten. An idea that it is still beautiful, despite is nicks, cracks, and tears. That it may be resurrected if it is truly seen. And truly loved.
"The rose which was nourished by tears, blossomed through love."~ Dirty Elegance
So, my idea of a theme wasn't far off, and it's just as mysterious and intriguing as before. Hm. This guy's use of language gives me the impression of somewhere between a mysticism- or mythology-based artist, a cultist, or a crock. Luckily, his music leads me to believe the former.
Niekoniecznie smaczne krążki są wydawane przez wytwórnie. W dobie Internetu bardzo łatwo obejść wszelkie oficyny i spróbować sprzedawać muzykę na własną rękę. Tak jest w przypadku nowojorskiego producenta downtempo Dirty Elegance i jego debiucie - albumie "Finding Beauty In The Wretched". Niech łamią sobie teraz zęby te wytwórnie, które nie skusiły się wydać ten materiał (mam tu na myśli Ninja Tune, Hefty, Tru Thoughts, Breakin' Bread czy Grand Central Records). Krążkowi Dirty Elegance trudno odmówić finezji i powiewu świeżości.
Sam autor nie zdradza zbyt wiele o sobie. Wiadomo, że jest wszechstronnie wykształconym jazzowym muzykiem, który wręcz do perfekcji opanował grę na pianinie i saksofonie. Formuła tego albumu jest w pełni instrumentalna, bo (jak sam powiedział w jednym z wywiadów):
- przez czystość samego dźwięku można więcej powiedzieć i przekazać aniżeli za pomocą słowa. Tak właśnie robili Miles Davis czy John Coltrane, stąd ich muzyka jest ponadczasowa.
Album nie jest robiony pod jedną stopę. Sformułowanie "downtempo" jest tutaj rozciągnięte do granic możliwości. A to powoduje znalezienie się w takim gronie hiphopowo-soulowych hybryd "Aural Mist", która nieodparcie może się kojarzyć z hitami rodem z MTV. Jak na jazzmana przystało, nie zabrakło kameralnej i swingującej "Melophobia" czy bardziej romansujących rytmów "Tailor Made". Oprócz tego Dirty Elegance uraczył stanowczym instrumentalnym hip hopem ("Eternal Infamy" i "Accouchement") przypominający skrzyżowanie Prefuse'a 73 czy Eliotem Lipp. Natomiast "Wirrok" używia album Dirty Elegance niczym dokonania Four Tet. Nie brakuje też europejskich, kanapowych akcentów. "Solicitude" i "Engloutir" przypominają barwny, wiedeński lounge. Dla fanów eklektycznej globalności, "Finding Beauty in the Wretched" oferuje etniczne "Foreign Objects" oraz "Blind Eye". Natomiast "Leaves Of Autumn" zapewne nie powstydził by się Amon Tobin, a "Frozen In Time" i "Dark Pockets" - DJ Shadow.
Owy krążek tego noworojczyka to coś pomiędzy Toscą, Kruder & Dorfmeister, Telefon Tel Aviv, Thievery Corporation, a Truby Trio, Sofa Surfers i Stereotypem.
Ode to Bartleby (2008)
New album Dirty elegance under the aegis of Herman Melville and the (anti) hero: Bartleby, a man of the administration of the mid-nineteenth who had resisted before the time the absurdity of his time 'are preferring not to obey. Ode to Bartleby succeeds and - a year later - the 2007 album Slap: Finding beauty in the wretched, with the same ability to tell stories and move us ... the least surprise, but the fun intact.
Ode to Bartleby is constructed as the previous one: long and dense. 17 tracks, an intro that immerses you in the world live grime very characteristic of New York, a beautiful part left to instrumentals, passages very oriented hip other trip (hop), a gorgeous artbook ... and occasionally palpable emotion. Some even will risk the overflow canal under the effect of the sacred voice of Jenni Muldaur - another New York artist - as a guest on Floating, certainly one of the best trip-hop songs of 2008.
But hey, nothing new - you tell me - if there is not a tinge of jazz grafted by the recurring presence of a sax for ambulatory entry in smoky clubs lowland electro-jazz of popular big apple.
Popular? Yes, people! because in addition to artistic commitment Dirty elegance, always looking for emotion, we must acknowledge the very singular political content in a musical environment unaccustomed to the challenge. This is also in the content or in its policy suggestion that is the real strength of this album. The use of speech, music that speaks of the world, our world through the process of aging (Senescence) our world and its recurring cyclothymia (Tranquility & Madness) ...
And when Dirty elegance evokes Bartleby, he does not hesitate to cite American novelist Meridel The sweat "It's not the suffering of birth, death, love that the young reject, the purpose of suffering endless labor without dream, eating the bread in spare bitterness, Being a slave without the security of a slave. " The voice of the little contemporary American people who knew John Steinbeck evoke bondage work without the security of the slave!
What meditate in times of crisis ...
That in almost a year already spoken, almost a year that some of us have had the honor of listening to the first version still in gestation. A first draft is already interesting even if not yet accomplished ... at the time! But time has passed and Lady Trip-hop has managed to ensure grain.
Have you discovering The hero fell from her pedestal, we can understand why the more than a year of doubt, research and work. What brand of entry, even more than the previous (!) Is the density because, as the Lord with Parov Stelar Coco, Mister elegance offers no fewer than 24 titles evenly distributed between two CDs. And 24 tracks, it's a lot. Ambitious same.
What then of this new album? Well, then I say that the growth is impressive between the trial version (late 2009) and the final (end of 2010). The introduction first (Cycle reined) raises the impression of elegant gentleman who always has the same class when it comes to language: a speech, a line of rhythm and melody highlighted by small vocodorisations Impressionists. The die is cast: the atmosphere is laid in some notes and you feel at home, in line with the previous installment: less surprising, but that resulted Finding beauty in the wretched, more accessible Ode to Bartleby. The trend hip-hop it persists (Big Pep) while the feminine touch fades somewhat even if the sensuality trip-hop Tibbie X is expressed beautifully on Strange Place. Some titles will be needed soon as power tubes (Sacrifice, History of language, Everything to me on CD1, Washing away the dirty, The lesson, Human construct, Wayward on CD2)
So of course, all does not sound the same revolution yet if evolution is there: a mysticism nothing more. Diying earth with his songs, Washing away the dirty on an operatic aria, that proves that our favorite New Yorkers know always take risks without losing the thread of his work: the musicality of the language.
The limit to the whole, it is perhaps precisely this density: some titles probably quickly forget the benefit of many tubes. It's a shame when you consider how everything is tweaked: what particular introductions! In fact, where Coco (Parov Stelar) and invited us to listen or dance (sweet and savory balance that worked wonders last year and allowed to separate our listening following our mood and desire) Dirty elegance offers an entity massive and gross might have preferred almost exploded over time to better distill the very substance.
Still, hats off to the heroin fell from his pedestal. One could also get several for his short-scale, right?
Dirty Elegance "Finding Beauty in the Wretched"
Review by HYPERmedia
(Translated from Russian)
I have a very fresh album; Dirty Elegance, 'Finding Beauty In The Wretched'. This is trip-hop with impurities of IDM, or IDM with impurities of trip-hop (for the more highly trained ear).
"The title of the album already offers us some thoughts", says music gourmands and philosophers.
Very good music! I proclaimed (three years ago) that IDM would gain momentum and join the different styles of music, taking a growing number of fans along with it. And for the first time, after having that thought, it now proves to be the case (needless to mention Thom Yorke's solo album), which utilized straight saturated IDM ... Dirty Elegance combines such interesting areas of trip-hop, IDM, and instrumental, complementing the beauty and aesthetics of this album . A mysterious, and sometimes monotonic tone is encountered when listening, with beautiful vocals periodically interwoven amongst the superbly distorted sounds and atmospheres.
This album was just placed on my list of best albums of 2007. Generally speaking, this year is very encouraging with a surge in the trends of multiple genres. I'm certainly ready, but do not know what to expect ... If it continues at this same rate, 2007 will be the year of musical creatures! I hope you share my view and appreciate the depth and creativity of Dirty Elegance, as music without words is not the same as music without meaning!
The man behind Dirty Elegance, a man who happens to prefer to remain faceless and nameless, picked up his first musical instrument, a saxophone, at the age of ten after being inspired by, of all things, a Hall and Oats song. Even at that young an age it was quickly evident that music was going to be his path in life. Dirty Elegance describes his time growing up as “a whirlwind of honor bands, European jazz tours, and intense training.” After moving to New York City in 2000 with no money, no job and nowhere to live, he continued his musical journey any way he could. Seven years later, he has a couple bucks in his wallet, a roof over his head, and he even knows a few people. This week I sat down with Dirty Elegance to find out what his work is all about and what I came away with are answers that qualify as both strange and compelling.
Adam Bernard: Dirty Elegance is an intriguing name. In what ways do you feel the name Dirty Elegance encapsulates your music and what you're looking to do?
Dirty Elegance: Dirty Elegance is more than music. Dirty Elegance is more than a name. It's how I feel. It's how I view our everyday world. It's what I see as I sit on the fire escape, sucking down cigarettes, under the hazy, dimly lit moon peeking in from behind the roof of my building in Washington Heights. The contrasting shapes and shadows of the dead tree's twisted branches reaching into the blue-ish grey sky, filled with the dark, soft shapes, gently blowing the fallen leaves with it's cold breath of autumn's soft whispers. It's being able to see the beauty in all situations of everyday life, the small details that go unnoticed by your average passer-by, and my music is just an expression of how I feel and what I see.
Adam Bernard: Finding Beauty In The Wretched is a mostly instrumental album, but you do have a few very interesting vocal samples. Tell me about those samples, who they are and why you chose them.
Dirty Elegance: Elie Wiesel and Charles Manson. Light and dark. Good and evil. Hope and despair. Contrasting souls. Dirty Elegance.
Adam Bernard: Your image is nowhere to be found on Finding Beauty In The Wretched. What was the thought process that led to this decision and what are your feelings on it now that the album is out?
Dirty Elegance: It was a conscious decision that was made long, long ago. I am disgusted and ashamed of how our society places importance on shit that is just wrong. Rape, addiction, murder, adultery, pedophilia, greed, bulimia, anorexia, theft, violence, vanity, that's what we, as a society, hold dear to our hearts, our “idols,” the crème de le crème. I just want to share my views, beliefs, and passions with as many people as there are ears, divided by two. I don't care if my face becomes immortalized. Just listen to the music, think about what's really going on and wonder what's out there, wonder about what don't we know, what do we know and what our subconscious keeps secret. Plus, it gives me a chance to use some of my photographs, a couple visual examples of what I find Dirty Elegance to be.
Adam Bernard: In what environment do you feel your music fits best and who do you see being your main audience?
Dirty Elegance: I'm not going after any of Britney Spears’ fans, that's for sure! I’m looking to reach those souls who question our existence, those who can see through the incredibly large portion of shit that’s shoved into our faces every day and labeled art, those who think outside the box, and question reality, those who chase dreams and will not tolerate anything other than their hearts desires, not those sitting around reveling in what Paris Hilton wore yesterday afternoon. I’m looking to reach real, unique, individuals, who aren’t afraid to live the way they truly feel aspired to. I would rather sell one CD to someone who really feels it than sell a million to the uninspired herd of manipulative, monotonous walking dead, relying on others for their own sense of self.
Adam Bernard: What are you biggest goals as an artist?
Dirty Elegance: I want to inspire. I want to stoke the embers that are smoldering within the creative soul, whether it’s art, music, dance, sculpture, poetry, whatever. And I want to be playing through the speakers as that creativity comes to fruition. Art begets art and inspiring to create is my ultimate sense of gratitude. What will I inspire others to create? It’s like six degrees of separation, but to the millionth degree. All of society’s greatest artists were inspired by something.
For more Dirty Elegance check out myspace.com/rickyrstix.
Labels: Artists Of The Week
(Translation From Polish)
You can't be a part of well-known independent label, neither trying out to be if you will tend to be extremely-talented produder. It's not a necessary condition. An ideal example is Dirty Elegance, the New Yorker musician, whose second studio album, "Ode to Bartleby", is a dandy proem to his ensuing full-fledged work acts. The voluminous variety of downtempo, which really and only can afford a small group of producers in these, contemporary times.
The 2007 year was for me, inter alia, a particular period when I had digged out the two very interesting projects on downtempo scene. One of them was the Aloan, the great Swiss team and their brilliant third album ("Better in Springtime"), and the another was a producer from United States, Dirty Elegance. No less dingy and enigmatic figure, than some representatives of British modern urban music scene, at all. His debut album, "Finding Beauty in the wretched", was the ridgy-didge relevation for me. And it wasn't any bother for him that he had released it by himself, peddling own music goods through the online music stores with digital music.
It has taken much time, since it had occured. Dirty Elegance has established his label marked out a quite simple name, Dirty Elegance Records. Inspired by, "Bartleby, the Scrivener", the one of Herman Melville books (the same author who farthered the legendary story, "Moby Dick"), he tranformed his the brand-new ideas further the arrangement extertions on Ode to Bartleby, his second album. The 3-4 minute long compositions dominance may give a hint many things with disc concerned, mainly plenty of instrumental hip hop references. Hence, you shouldn't expect as such diversity as it was in first time. And generally, it was proper way and its a fruition. He clearly fixed his glance on few music segments upon their development, and ultimately added up the rudiments his own style.
And thereupon he recorded the tracks, from whom are addicting. Each of them is something utterly another. Once Dirty Elegance hots up a rhythm upward to a furiously giddy scope, racing in Holdcut-style ("Full Eclipse"). In another setting, he revamps a classic subtle tweed pop, thanks by a mildly-fizzy downtempo concoction with the fleeting Jenni Muldaur's vocals (it's probably the same singer encouraging Marianne Faithfull and Eric Clapton on their albums, isn't it?). Dirty Elegance combines with hefty hip hop beats after their dirty, gritty alteration ("Mandess"), as well as making up the oriental-jazz symphony with rapping support from former member of The Pharcyde crew, SlimKid3, in "Snake in the Glass".
American producer has been amazingly going uphill with the level of his works, all the time. If I would like to say something one in a million regarded with "Ode to Bartleby", is the fact the invidual album parts are argued the strength of instrumental hip hop with one accord. So you can cease listening no let-up the Deadly Avenger's cinematic soundscapes, either Emancipator's beating machinations. Because it would be ludicrously stupid, if you quite indifferently omited the second album made by Dirty Elegance.
Quando a alma se desagrega do corpo, eterizada, enceta uma viagem psicotrópica ás profundezas da dimensão paralela, sons, timbres e vozes irrompem. Combinados entre si estes elementos projectam-se numa hipnose giratória. Não é musica é arte.
Dirty Elegance é inspiração levada ao extremo do engenho humano, aqui o termo complexidade assume outra compreensão. A música electrónica surge-nos como um círculo, desconhece-se onde começa e como pode acabar, pelo que ouvir Finding Beauty In The Wretched, não deveria provocar qualquer perturbação. Mas inevitavelmente provoca. Aliás, afecta-nos, a beleza impressiona, a harmonia seduz, o enigma sonda o ser, levando-o ao exterior sem abstrair do seu interior.
Este disco não vive somente no trip-hop ambiente, habita algures entre Massive Attack e Portishead, encaixado bem fundo nos Sigur Rós e The Album Leaf, é, se assim se pode designar, electrónica experimental. Álbum para pessoas que questionam a existência humana a realidade envolvente, que ousam olhar além da miséria quotidiana que nos rodeia. O individuo em busca do sonho, cuja premissa é dar expressão autêntica ás suas aspirações, descobre neste disco o seu númen.
Único para seres únicos.
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