I don’t know much about hip-hop but I really got a soft spot for Mouthe
Hype Williams and Dean Blunt
Woah, I’ve never heard that. Thanks for that!
Atom™ is certainly experimental, but I feel like he might be “taking the piss” with these song titles:
So good… even better than the original version.
Amazing production and vibes.
Always thought that oOoOO would be great producing hiphop.
Wow just watched a bunch of their videos - and they were awesome.
It’s those damn filters.
Rofl, nah, it’s really just always impressive to have confirmation that Daveed’s internal clock is actually that accurate, rofl
I had the privilege of seeing them perform in ATX a few years ago; they’re phenomenal live. There was a whole 10 minutes (or so) dedicated to letting Jonathan and William lay waste everyone’s ears with harsh noise.
FSOL sometimes hit a stride of breakbeats that is hiphop idm to me.
Of course most of their work is not hiphop!
Also Harmonic 313 (Mark Pritchard) sometimes is hiphop
and Luke Vibert as Wagon Christ perhaps!
Richard also gets into the hiphop grooves sometimes, I feel!
even BOC sometimes…
_ know most of theses guys are IDM artists more than HipHop
but the tracks taken on individual basis feels Hiphop to me._
Well as long as we’re including tracks for likeness in aesthetic, I have no clue why Arca hasn’t been mentioned.
Love “The Constructus Corporation” so much!
i haven’t read everything but to make sure, as for being experimental to me at least is clipping, moodie black, death grips, niggy stardust (the saul williams and trent reznor colab), FKA twigs. as for “idm” i welcome any name drops. Access to Arasaka made some tracks with guest vocals and most recently with more crude “industrial” lyrics.
quite some time ago i was diggin’ his stuff. soundwise he’s dong something totally different now, constantly questioning and reflecting the patriarchic aspects of hip hop:
and this stuff was quite refreshing as a reminiscence to good old g-funk
both of them were under 20 when they released those tracks. its quite a different game when contemporary musicians can look back to a wide range of historical transitions and the evolution of a certain genre (due to internet and modern communication-technologies/archives), plus a forthgoing “democratization” of production-gear and tutorials.
the biggest diffence though is the heavy focus on sound-design and self-marketing/-distribution, which alienates those genres from their former political/social backgrounds…