^shut up dad.nowaysj wrote:Imo agent may share the same fate if he continues with the same casual, heroic attitude towards drug use.
R.I.P. Rashad
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Re: R.I.P. Rashad
Re: R.I.P. Rashad
Dads are only dads because they've managed to survive long enough to reproduce. Say no more about it.
Re: R.I.P. Rashad
I was absolutely gutted when I read about Rashad this morning.
His music came on leaps and bounds in the last few years. 'Double Cup' was one of last year's best albums imo.
Never met him but I only ever heard good things about the man from those who did.
R.I.P.
His music came on leaps and bounds in the last few years. 'Double Cup' was one of last year's best albums imo.
Never met him but I only ever heard good things about the man from those who did.
R.I.P.
Re: R.I.P. Rashad
There are rumours that it was lean.nowaysj wrote:The original cutout emoticon more closely reflects his production style, sorry benny.
And to murky, it may be helpful for people to know what drugs he took, and how he took them to avoid the same fate. Notice it was agent asking that. Imo agent may share the same fate if he continues with the same casual, heroic attitude towards drug use.
Re: R.I.P. Rashad
Just went a bit too hard
Re: R.I.P. Rashad
I can't help but picture Stephen Colbert when I read thisNihilism wrote:There are rumours that it was lean.nowaysj wrote:The original cutout emoticon more closely reflects his production style, sorry benny.
And to murky, it may be helpful for people to know what drugs he took, and how he took them to avoid the same fate. Notice it was agent asking that. Imo agent may share the same fate if he continues with the same casual, heroic attitude towards drug use.
Re: R.I.P. Rashad
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Re: R.I.P. Rashad
april can fuck right off.
SoundcloudAxeD wrote:I dunno, there's some thoroughly unemployed people on this forum.
Re: R.I.P. Rashad
what's that Swims-remix? or atleast it has the same sample.
and that one the fat brother played after Rollin'? "we got the molly" or sth like that
SoundcloudAxeD wrote:I dunno, there's some thoroughly unemployed people on this forum.
Re: R.I.P. Rashad
idk wasnt paying close enough attention haha
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Sexual_Chocolate
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Re: R.I.P. Rashad
yea its just a sample thats commonly used. sampled from tranco traxx's 'walk 4 me'Jurkhands wrote:what's that Swims-remix? or atleast it has the same sample.
and that one the fat brother played after Rollin'? "we got the molly" or sth like that
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Re: R.I.P. Rashad
big up.
SoundcloudAxeD wrote:I dunno, there's some thoroughly unemployed people on this forum.
Re: R.I.P. Rashad
Never knew so many people on my Facebook/Twitter feeds were "just getting into footwork", then this happens.
What a crazy coincidence.
What a crazy coincidence.
Re: R.I.P. Rashad
wub wrote:Never knew so many people on my Facebook/Twitter feeds were "just getting into footwork", then this happens.
What a crazy coincidence.
Re: R.I.P. Rashad
Jack to Juke>>> http://vimeo.com/36275353 <<<
RIP Rashad, I consider him to be among the most important producers of the past 10 years, his influence is completely saturated all over the more recent techniques of "bass-music" and "ghetto-tech", his sub-bass alone puts the vast majority of "dubstep" to shame, and looking at how the compositions in his poly-rhythmic beat patterns inspired the UK into a new movement and direction, when 140 was hijacked by america, the search was on and the interpretation of footwork and juke with it's shifting unpredictable dynamics led the scene to find new and interesting ways to keep the sounds and styles fresh and fascinating.
Saw him just months ago, awesome DJ, incredibly quick, tight mixes, all originals, and get this: no que, so no headphones! he really knew how to jam every little sample and bit of closed hi-hat in between each track, he had taste in the classic appeal of 808 & 909 percussion but chose to utilize those drum machines in a completely unorthodox fashion. Exclusively listening to Rashad over the past couple days and noticed how on the decks his nonchalant method of experimentation would force the samples to intertwine together and weave new explorations in sonic dissonance. He kept the floor moving at all times, bouncing between bridges and breakdowns, it was as though he was mentally dancing footwork and keeping a freeform expression in selection and technique.
The 3 releases on Hyperdub over the past year and a half are incredible, Douple Cup as an LP is truly innovative really the first of it's kind, I love RP Boo and Traxman is very innovative, but Rashad has a unique skill, he's not afraid to take opposing forces and cross breed them together and much of the album is rather experimental, it's incredibly well produced, but not over produced, it's ghetto, street, you can hear the DJ Funk in it. it's hard and fast, his productions demand to be moved to, still at it's core is that special hybrid between Hip-Hop and House, which is a euphoric mixture, it caters to everyone in a well rounded and challenging way.
Rollin and I.D.G.A.F. are totally sick as well! "Let It Go" is a remarkable track, a couple clicks from a wooden rim, a sudden snare, 2-note bass line, and into the unknown there comes the voice of someone lost in their own makeshift reality, a stark, honest, pitched-up delivery of the track title "Let It Go!" an affirmation, a mantra, anther voice appears as the song starts to take a more colorful shame, she says "Babe', fight me' and "Babe" repeated in tactful positions through the complexities of the song. In seconds is slightly altered to "Maybe' fight them' & quietly drenched in reverb "nothing you can do for me... nothing you can do for me." in between the title phrase "Let It Go!" is delayed and repeated until the synths come floating in, they alternate between the hi-hats as the bass is back to it's 2 note discourse, and the static of the snare is alone with the frozen tears of Teklife Chicago as the sample continues to sing "Let It Go!" bits of glowing synths spawned out of hues of blues and soft purples start to form delicate unexpected spontaneity, and another "Baby', fight me." then back to the title sample as the tune winds down from the emotional echoes of a tragically serene internal landscape, painted in the heartbreak of a sentiment, shared by so many, but achieved by so few. We can never let go of Rashad, forever immortalized in contributions and innovations of making footwork a progressively creative art form.
Early incarnations of the rugged turf and spastic percussion patterns made what at first glance appeared to be a tough as nails, bits of thuggish 160 BPM, 2.5 minute bangers, and accentuated the draw without watering anything down, I love most all of the tracks on both volumes of "Bangs and Works" I picked up both of them when I was in San Francisco a few years ago, and those comps are an outstanding statement of what can happen when technology is head locked by the streets. 51 footwork Anthems, packed with punches of aggressive beats and twisted hi-hats, with manipulated samples from songs/artists ranging from "What have you done for me lately" by Janet Jackson, to "Live and let die" by Wings, or "One Blood" by Junior Reid, those songs for example wouldn't ever be thought to have anything in common but as a sample or remix into a footwork context, the tracks could be DJed back to back at a party and the floor would embrace the eclectic mixture of reformatted references and influences through the set. Planet Mu Records really did something wonderful by putting those guys on a platform where they sound could be heard world wide, the energy of footwork is so unique and hypnotic, it's hyper, yet screwed, as if half of the track is pitched down, while the other half is pitched up and the delirium generated makes for unexpected side effects.
The culture surrounding footwork, the dance, DJ/Mixing styles, the experimentation, and the overall energy. It's important, as it defends the principals that House music in it's various world wide cultural significance it represents. DJ Rashad's "It'z Not Rite" ep is such an incredible stroke of genesis, that track alone is just so astonishing, it's polarities between the half-time and the double-time, how they balance each other, sampled from Vicki Sue Robinson's 1979 heartfelt groove on "Hope your feelings are like mine", the passionate vocals shatter through the unexpected claps, snares, and rolls of the drums, the shape shifting beat pattern explores new possibilities and potentials, pushing boundaries in surprising rhythmic directions, and most importantly it sounds like absolutely nothing that has ever come before it.
http://www.whosampled.com/sample/90174/ ... Like-Mine/
RIP Rashad, I consider him to be among the most important producers of the past 10 years, his influence is completely saturated all over the more recent techniques of "bass-music" and "ghetto-tech", his sub-bass alone puts the vast majority of "dubstep" to shame, and looking at how the compositions in his poly-rhythmic beat patterns inspired the UK into a new movement and direction, when 140 was hijacked by america, the search was on and the interpretation of footwork and juke with it's shifting unpredictable dynamics led the scene to find new and interesting ways to keep the sounds and styles fresh and fascinating.
Saw him just months ago, awesome DJ, incredibly quick, tight mixes, all originals, and get this: no que, so no headphones! he really knew how to jam every little sample and bit of closed hi-hat in between each track, he had taste in the classic appeal of 808 & 909 percussion but chose to utilize those drum machines in a completely unorthodox fashion. Exclusively listening to Rashad over the past couple days and noticed how on the decks his nonchalant method of experimentation would force the samples to intertwine together and weave new explorations in sonic dissonance. He kept the floor moving at all times, bouncing between bridges and breakdowns, it was as though he was mentally dancing footwork and keeping a freeform expression in selection and technique.
The 3 releases on Hyperdub over the past year and a half are incredible, Douple Cup as an LP is truly innovative really the first of it's kind, I love RP Boo and Traxman is very innovative, but Rashad has a unique skill, he's not afraid to take opposing forces and cross breed them together and much of the album is rather experimental, it's incredibly well produced, but not over produced, it's ghetto, street, you can hear the DJ Funk in it. it's hard and fast, his productions demand to be moved to, still at it's core is that special hybrid between Hip-Hop and House, which is a euphoric mixture, it caters to everyone in a well rounded and challenging way.
Rollin and I.D.G.A.F. are totally sick as well! "Let It Go" is a remarkable track, a couple clicks from a wooden rim, a sudden snare, 2-note bass line, and into the unknown there comes the voice of someone lost in their own makeshift reality, a stark, honest, pitched-up delivery of the track title "Let It Go!" an affirmation, a mantra, anther voice appears as the song starts to take a more colorful shame, she says "Babe', fight me' and "Babe" repeated in tactful positions through the complexities of the song. In seconds is slightly altered to "Maybe' fight them' & quietly drenched in reverb "nothing you can do for me... nothing you can do for me." in between the title phrase "Let It Go!" is delayed and repeated until the synths come floating in, they alternate between the hi-hats as the bass is back to it's 2 note discourse, and the static of the snare is alone with the frozen tears of Teklife Chicago as the sample continues to sing "Let It Go!" bits of glowing synths spawned out of hues of blues and soft purples start to form delicate unexpected spontaneity, and another "Baby', fight me." then back to the title sample as the tune winds down from the emotional echoes of a tragically serene internal landscape, painted in the heartbreak of a sentiment, shared by so many, but achieved by so few. We can never let go of Rashad, forever immortalized in contributions and innovations of making footwork a progressively creative art form.
Early incarnations of the rugged turf and spastic percussion patterns made what at first glance appeared to be a tough as nails, bits of thuggish 160 BPM, 2.5 minute bangers, and accentuated the draw without watering anything down, I love most all of the tracks on both volumes of "Bangs and Works" I picked up both of them when I was in San Francisco a few years ago, and those comps are an outstanding statement of what can happen when technology is head locked by the streets. 51 footwork Anthems, packed with punches of aggressive beats and twisted hi-hats, with manipulated samples from songs/artists ranging from "What have you done for me lately" by Janet Jackson, to "Live and let die" by Wings, or "One Blood" by Junior Reid, those songs for example wouldn't ever be thought to have anything in common but as a sample or remix into a footwork context, the tracks could be DJed back to back at a party and the floor would embrace the eclectic mixture of reformatted references and influences through the set. Planet Mu Records really did something wonderful by putting those guys on a platform where they sound could be heard world wide, the energy of footwork is so unique and hypnotic, it's hyper, yet screwed, as if half of the track is pitched down, while the other half is pitched up and the delirium generated makes for unexpected side effects.
The culture surrounding footwork, the dance, DJ/Mixing styles, the experimentation, and the overall energy. It's important, as it defends the principals that House music in it's various world wide cultural significance it represents. DJ Rashad's "It'z Not Rite" ep is such an incredible stroke of genesis, that track alone is just so astonishing, it's polarities between the half-time and the double-time, how they balance each other, sampled from Vicki Sue Robinson's 1979 heartfelt groove on "Hope your feelings are like mine", the passionate vocals shatter through the unexpected claps, snares, and rolls of the drums, the shape shifting beat pattern explores new possibilities and potentials, pushing boundaries in surprising rhythmic directions, and most importantly it sounds like absolutely nothing that has ever come before it.
http://www.whosampled.com/sample/90174/ ... Like-Mine/
Last edited by Soiree on Mon Apr 28, 2014 3:15 pm, edited 1 time in total.
thekuku wrote:Nah never taking the piss. Not on DSF at least
Re: R.I.P. Rashad
tbf, Double Cup was a pretty big, well received album on one of the bigger, most popular UK labels, and that was only recent, probably introduced a lot of people to his stuff.wub wrote:Never knew so many people on my Facebook/Twitter feeds were "just getting into footwork", then this happens.
What a crazy coincidence.
Re: R.I.P. Rashad
Redeye weekly charts are cluttered with his releases already, wonder how many sales are genuine and how many are cynical Discogments for future resale.
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murky21
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Re: R.I.P. Rashad
not a time or the place to be cynical imo
Re: R.I.P. Rashad
You're right.
RIP In Peace
RIP In Peace
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