|
2:05 | ||||
from Roni Size / Reprazent - New Forms (1997) | |||||
|
9:03 | ||||
from Roni Size / Reprazent - New Forms (1997) | |||||
|
7:45 | ||||
from Roni Size / Reprazent - New Forms (1997) | |||||
|
6:57 | ||||
from Roni Size / Reprazent - New Forms (1997) | |||||
|
9:05 | ||||
from Roni Size / Reprazent - New Forms (1997) | |||||
|
4:05 | ||||
from Roni Size / Reprazent - New Forms (1997) | |||||
|
4:56 | ||||
from Roni Size / Reprazent - New Forms (1997) | |||||
|
6:35 | ||||
from Roni Size / Reprazent - New Forms (1997) | |||||
|
6:13 | ||||
from Roni Size / Reprazent - New Forms (1997) | |||||
|
5:33 | ||||
from Roni Size / Reprazent - New Forms (1997) | |||||
|
1:09 | ||||
from Roni Size / Reprazent - New Forms (1997) | |||||
|
6:58 | ||||
from Roni Size / Reprazent - New Forms (1997) | |||||
|
8:12 | ||||
from Roni Size / Reprazent - New Forms (1997) | |||||
|
3:56 | ||||
from Krust - Coded Language (1999) | |||||
|
8:40 | ||||
from Krust - Coded Language (1999) | |||||
|
6:00 | ||||
from Krust - Coded Language (1999) | |||||
|
7:50 | ||||
from Krust - Coded Language (1999) | |||||
|
0:24 | ||||
from Krust - Coded Language (1999) | |||||
|
2:33 | ||||
from Krust - Coded Language (1999) | |||||
|
8:49 | ||||
from Krust - Coded Language (1999)
Whereas, breakbeats have been the missing link connecting the diasporic
community to its drum woven past Whereas the quantised drum has allowed the whirling mathematicians to calculate the ever changing distance between rock and stardom. Whereas the velocity of the spinning vinyl, cross-faded, spun backwards, and re-released at the same given moment of recorded history , yet at a different moment in time's continuum has allowed history to catch up with the present. We do hereby declare reality unkempt by the changing standards of dialogue. Statements, such as, "keep it real", especially when punctuating or anticipating modes of ultra-violence inflicted psychologically or physically or depicting an unchanging rule of events will hence forth be seen as retro-active and not representative of the individually determined is. Furthermore, as determined by the collective consciousness of this state of being and the lessened distance between thought patterns and their secular manifestations, the role of men as listening receptacles is to be increased by a number no less than 70 percent of the current enlisted as vocal aggressors. Motherfuckers better realize, now is the time to self-actualize We have found evidence that hip hops standard 85 rpm when increased by a number as least half the rate of it's standard or decreased at 쩐 of it's speed may be a determining factor in heightening consciousness. Studies show that when a given norm is changed in the face of the unchanging, the remaining contradictions will parallel the truth. Equate rhyme with reason, Sun with season Our cyclical relationship to phenomenon has encouraged scholars to erase the centers of periods, thus symbolizing the non-linear character of cause and effect Reject mediocrity! Your current frequencies of understanding outweigh that which as been given for you to understand. The current standard is the equivalent of an adolescent restricted to the diet of an infant. The rapidly changing body would acquire dysfunctional and deformative symptoms and could not properly mature on a diet of apple sauce and crushed pears Light years are interchangeable with years of living in darkness. The role of darkness is not to be seen as, or equated with, Ignorance, but with the unknown, and the mysteries of the unseen. Thus, in the name of: ROBESON, GOD'S SON, HURSTON, AHKENATON, HATHSHEPUT, BLACKFOOT, HELEN, LENNON, KHALO, KALI, THE THREE MARIAS, TARA, LILITHE, LOURDE, WHITMAN, BALDWIN, GINSBERG, KAUFMAN, LUMUMBA, Gandhi, GIBRAN, SHABAZZ, SIDDHARTHA, MEDUSA, GUEVARA, GUARDSIEFF, RAND, WRIGHT, BANNEKER, TUBMAN, HAMER, HOLIDAY, DAVIS, COLTRANE, MORRISON, JOPLIN, DUBOIS, CLARKE, SHAKESPEARE, RACHMNINOV, ELLINGTON, CARTER, GAYE, HATHOWAY, HENDRIX, KUTL, DICKERSON, RIPPERTON, MARY, ISIS, THERESA, PLATH, RUMI, FELLINI, MICHAUX, NOSTRADAMUS, NEFERTITI, LA ROCK, SHIVA, GANESHA, YEMAJA, OSHUN, OBATALA, OGUN, KENNEDY, KING, FOUR LITTLE GIRLS, HIROSHIMA, NAGASAKI, KELLER, BIKO, PERONE, MARLEY, COSBY, SHAKUR, THOSE STILL AFLAMED, AND THE COUNTLESS UNNAMED We claim the present as the pre-sent, as the hereafter. We are unraveling our navels so that we may ingest the sun. We are not afraid of the darkness, we trust that the moon shall guide us. We are determining the future at this very moment. We now know that the heart is the philosophers' stone Our music is our alchemy We stand as the manifested equivalent of 3 buckets of water and a hand full of minerals, thus realizing that those very buckets turned upside down supply the percussion factor of forever. If you must count to keep the beat then count. Find you mantra and awaken your subconscious. Curve you circles counterclockwise Use your cipher to decipher, Coded Language, man made laws. Climb waterfalls and trees, commune with nature, snakes and bees. Let your children name themselves and claim themselves as the new day for today we are determined to be the channelers of these changing frequencies into songs, paintings, writings, dance, drama, photography, carpentry, crafts, love, and love. We enlist every instrument: Acoustic, electronic. Every so-called race, gender, and sexual preference. Every per-son as beings of sound to acknowledge their responsibility to uplift the consciousness of the entire fucking World. Any utterance will be un-aimed, will be disclaimed - two rappers slain Any utterance will be un-aimed, will be disclaimed - two rappers slain |
|||||
|
5:58 | ||||
from Krust - Coded Language (1999) | |||||
|
4:21 | ||||
from Krust - Coded Language (1999) | |||||
|
7:56 | ||||
from Krust - Coded Language (1999) | |||||
|
5:29 | ||||
from Krust - Coded Language (1999) | |||||
|
7:35 | ||||
from Krust - Coded Language (1999) | |||||
|
6:05 | ||||
from Krust - Coded Language (1999) | |||||
|
3:18 | ||||
from Roni Size / Reprazent - In The Mode (1999) | |||||
|
6:08 | ||||
from Roni Size / Reprazent - In The Mode (1999) | |||||
|
4:02 | ||||
from Roni Size / Reprazent - In The Mode (1999) | |||||
|
6:46 | ||||
from Roni Size / Reprazent - In The Mode (1999) | |||||
|
5:14 | ||||
from Roni Size / Reprazent - In The Mode (1999) | |||||
|
4:48 | ||||
from Roni Size / Reprazent - In The Mode (1999) | |||||
|
4:03 | ||||
from Roni Size / Reprazent - In The Mode (1999) | |||||
|
2:28 | ||||
from Roni Size / Reprazent - In The Mode (1999) | |||||
|
3:04 | ||||
from Roni Size / Reprazent - In The Mode (1999) | |||||
|
3:15 | ||||
from Roni Size / Reprazent - In The Mode (1999) | |||||
|
4:24 | ||||
from Roni Size / Reprazent - In The Mode (1999) | |||||
|
4:47 | ||||
from Roni Size / Reprazent - In The Mode (1999) | |||||
|
4:02 | ||||
from Roni Size / Reprazent - In The Mode (1999) | |||||
|
7:49 | ||||
from Roni Size / Reprazent - In The Mode (1999) | |||||
|
4:22 | ||||
from Roni Size / Reprazent - In The Mode (1999) | |||||
|
1:50 | ||||
from Roni Size / Reprazent - In The Mode (1999) | |||||
|
- | ||||
from Roni Size / Reprazent - In The Mode (1999) | |||||
|
- | ||||
from Roni Size / Reprazent - In The Mode (1999) | |||||
|
- | ||||
from Roni Size / Reprazent - In The Mode (1999) | |||||
|
- | ||||
from Roni Size / Reprazent - In The Mode (1999) |