SaRmG pund cake preview

Turnt Up To The Max MIX 1.mp3

Three years after he debuted on the label, Finnish DJ and producer Sasse is back with another expertly crafted new track that comes with an interesting remix by Lehar. 

Working under many aliases, the man born Klas-Henrik Lindblad has done it all, but as Sasse has been making connoisseur deep house music for 20 years now. The label he runs, Moodmusic, has also been setting underground standards for the same length of time. In both EP and LP format, Sasse knows how to cook up palpable moods and grooves and does so again to perfection for Canadian label My Favorite Robot. 

His typically standout effort here is ‘Ani,’ almost ten minutes of brooding and heady house music that has rolling drums setting the tone below as expansive synths smear and skew about in the wide open spaces above. There are shades of Vangelis and a subtle dose of prog in the overall vibe, but circling synth patterns add a sense of hypnosis that make it pure dancing music. Serene and spaced out, it is a masterclass in suspense. 

As well as a more driven and tense dub version, Lehar provides the stellar remix here. The Italian producer is a restless spirit who has released his melodically rich music on labels like Moodmusic, 2DIY4 and Diynamic before now. Here he layers in more of his trademark chord progressions and rippling keys and has you arching your neck to the suggested skies above as you wallow in his cavernous groove. 

Each of these cuts are poignant affairs that will provide moments of real emotion on any dance floor. 

Sasse - Ani (Original MIx)

Big M'z - Turn On Me FT. Shawn G.

Dedication 6

Yeezy Sneakers

yellabone

S-aRmG(Ay-Ar) - yea she do it(freestyle

(S-aRmG)L.A. ft Ay-Ar i just wanna

On IT (SaRmG ft Sunny B)

I dont do this rapp shit kuz its good for my health ,
I got love for the art,
So she knew how I felt,
Won my first battle but was upset with myself ,
Im a beast all I want is a belt,
Im from a city that was born from cocaine, 
Dealers show no pain,
Hustlas on tha corner some are younger than fourteen, 
Gotta get it how we live if you wanna see that green,
My team is the army when getting to that kream 
Reality check ,
Let the clarity set,
You serving all day n night til they pulling a tech ,
I aint never had shit,
So nothing was expected, 
I work hard so I can enjoy the money ive collected, 
You think you gangsta kuz quick pop a slug,
You aint a gangsta motherfucka you just shit outta luck ,
I put in work,
Keep bitches round like windmills,
I Spit a verse ,
Now her panties drop like speed drills,
And so it hurts,
Knowin that ya raps aint nothing but weak skills ,
All the rappers I smash are nothing but free kills,
Leave a bitch mouth open like when the milk spills,
Screaming at ya face like this nigga is to ill,

You better stop before I hurt your neural system,
And break down ya body til is completely gone and missing,
My bars stay sizzling,
And there melting ya face,
And thats the reason half of you niggas are  replaced,


When I spit audiences bow down to the microphone, 
Punchlines hit ya body,
Play ya ribs like a xylophone, 
Battle me thats a no,
Even if you pack a chrome ,
Ill break ya body up like im bending on some Styrofoam, 
In winners circle,
Laughing at you emcees, 
Step to me next thing you see is an iv,
Staring at the roof laying there thinking "Why me"?
Heavyweight flow dropp opponents like im ali
Turn my back on you haters til my shoulder freeze,
Story of my life starts when i see the pen bleed,
Any beat that you give me is getting ripp,
My tongue blastiing rounds time to reload the cartridges,
My hand writes so much that I running down my cartilage,
Skills provide ya body with full blown Parkinsons,
Im splittin til I leave'em all crispy,
You nigga all pussy I can when somethings fishy,

Started from The Bottom (Freestyle) -kaze

For most of us, it’s pretty easy to make the distinction between music and noise. We probably don’t even think much about it. 

But for some people, those distinctions are blurry. Songs, trains, rustling leave-- they all have a kind of musicality.

So, what is music? And what is noise?

At San Francisco State, one teacher is exploring these questions with a medium that could be both:  Percussion.

Most days, when you walk the halls of the music department at San Francisco State, what you hear is a cacophony of muffled pianos, clarinets, and violins, all playing at once behind rows of closed doors.

Students are shut in practice rooms, repeating phrases over and over, mastering the intricacies of the music they want to play.

But walk down a hallway, and turn the corner, and you start to hear something very different--strange sounds of whirring and whining, clanging and crashing.

That’s how you know you’re in Allen Biggs’ class. Biggs is a percussionist who’s been teaching at SF State for the past five years.. And his approach involves some pretty unusual instruments.

One of his students, Michael Young, explains, “We have vacuum cleaner tubes that we spin around. And we have random things that Allen finds that he wants us to bang on.  But they make different cool sounds, and it ends up meshing together really well.”

The students -- about ten of them -- are about to play a song Biggs wrote called Shimmer. In addition to the spring coil (from a diesel truck), the thundersheet (a big sheet of flexible metal), and the vacuum cleaner tubes (that you spin around above your head), people are playing upturned 5-gallon buckets, and a rusted autoharp. They’re also using cello bows to play the rims of crystal wine glasses. And instead of silencing their phones, the students are turning them up—using alarms and ringtones to punctuate the song.

Biggs says using everyday objects is a way of opening his students’ ears to the music that’s all around us.

“I think suddenly the squeaking of a chair, the rustling of paper, the wind going across a microphone, the fog coming in, and the wind going through the cables of the Golden Gate Bridge—it's all there all the time. And it's just wherever we arbitrarily delineate what is noise, what is sound, and what is music,” Biggs says.

Most of what the ensemble plays is composed or arranged by the students. For everybody, but maybe especially for the music majors, this class is about learning how to play—really play—with sound and objects and noise.

“There’s a kind of emotional bravery,” says Biggs.”Like maybe someone plays the oboe, and they know how to do that. But when I ask someone to play some flowerpots, there's a kind of abandon that you have to throw yourself into. Okay, how do you play a flower pot? What do you strike it with? Do you strike it? Do you shake it? Does it make any sound?”

Biggs says although what he’s teaching might be new to his students, this kind of sonic exploration isn’t necessarily a new idea.

“Composers such as John Cage and Lou Harrison experimented with these sounds,” he says. ‘It's just sort of what I think of as the next generation of these students exploring these sounds.  And putting them together and playing them, and maybe coming up with different combinations.

During a class break, one of these combinations takes shape. Students are chatting, and fooling around with instruments. And then, someone starts using a cello bow on the edge of a big gong. From across the room, another student starts to sing.

And then, spontaneously, people stop what they’re doing and move toward the gong, singing and making sounds and playing instruments that are lying around the room. It’s beautiful music, ethereal and dreamlike.

It lasts for three or four minutes—no one talks, no one planned it, no one wrote it. And, then, just like it started, it comes to a natural conclusion.

The students start laughing. “That was impromptu,” says one.  “Total improv!” says another.  And just like that, class starts again.

Allen Biggs called us with the idea for doing this story about the Percussion Ensemble after he heard Audiograph’s sound of the week game.

We love getting these ideas from you, and love the places that you take us.

Audiograph: Making noise at SF State University

S-aRmG(Ay-Ar) - yea she do it(freestyle

SaRmG

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