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Event Archive - Jel, DJ Abilities, Serengeti, Dale Evans

Sun. November 17th 2013 The Cobalt (No Minors)
Cancelled $9 adv / $11 door
Tickets at:

Event Categories

Music: Electronic / DJ, Hip Hop / Rap
"[Jel]'s third album proper, a follow-up to 2006's impeccable Soft Money, is difficult to appreciate with the proper awe until you have seen him play live. The foremost practitioner of sample-based MPC production and performance, Jel uses hip-hop's favourite drum machine in a manner that can only be described as symphonic – every single note played via his intricate, polyrhythmic finger-drumming as samples loop and trigger, creating intensely psychedelic hip-hop patterns and textures."
— The Skinny

♠♠♠ Jel ♠♠♠

♣♣♣ DJ Abilities ♣♣♣

♥♥♥ Serengeti ♥♥♥

... with tunes from ♦♦♦ Dale Evans ♦♦♦

SHOW: 9:30PM
COVER: $9 (adv) / $11 (door)

JEL bio:
Imagine Public Enemy's Bomb Squad detonating explosives under the prog-rock grooves of German experimental behemoths, Can. These ideas seem mutually exclusive, but they're not. The evidence is in the shrapnel funk of Late Pass, the third album from Anticon co-founder, Jel. As the scarred vocals of the title track instruct: don't get too comfortable.

If you're unfamiliar with the Chicago-bred, Bay-area based producer/rapper born Jeffrey Logan, he's on the shortlist for best indie rap producer of the last decade. Admittedly, this sort of hyperbole comes standard issue in one-sheets, but Jel has the necessary resume.

His career traces back to Deep Puddle Dynamics, a group featuring Slug of Atmosphere and Jel's frequent collaborator, Doseone. Later forming Subtle, Themselves, and 13 & God, Jel and Dose's blitzkrieg experimentations remain visionary and futuristic-they're also among the few times rock and rap have ever successfully gotten high together. Most recently, Jel co-produced the Kenny Dennis EP and C.A.R. with Odd Nosdam for label mate, Serengeti, two similarly brilliant blends of high concept ideas, hover-converted boom bap, and the occasional rib tip sandwich.

On paper, it seems a little strange that Late Pass is only his third official solo record. But not when you consider it's meticulousness. Samples, hard-slapping drums, and damaged vocals are stitched with surgical precision. If there's a closest analogue, it might be Beck circa Odelay if KRS-One was his spirit animal.

"The title came from how I was just late in delivering a third album and how motherfuckers are late onto me," Jel says. "It represents where I'm at right now. I'm not falling the fuck off. I'm not getting super large. I'm doing my thing."

His thing is successfully reconciling warring ideas. It's noisy and intense but it swings enough to make your head nod. It's a psychedelic sample collage, but one that avoids the usual clichés. It isn't trippy or cinematic. It will leave you dizzy, not because of a druggy vibe, but because your face has been slapped and your head spun around several times. You might recognize some of your favorite rap lines turned distorted and sunburned.

This outlook is buried in the observational raps-it's paranoid and skeptical, the personal as political.

"Sometimes the inspirations came from walking around outside, sometimes they would come from a Boots Riley song," Jel said. "We're an easily seduced culture in a twisted tornado of cell phones and information overload. As a response, I kept things a little more minimal. I didn't want to over do the drums. I wanted to get my point across."

This point appears from the first seconds of the album-when the MPC starts to punch and the drums start to kick-and the impact is bayonet sharp.
Billy Freekin Dee. In the beginning… there were turntables. For the first six months, the Minnesota-based underground hip hop producer and turntablist DJ'ed on the ground, on a hardwood floor, with a case of beer. Eventually he got a table and a MPC, and hooked up with the likes of Rhymesayers Entertainment and Epitaph. Since then, he has released two mix tapes, produced four full-length albums, won two DMC championships and played hundreds of shows.
Illinois native David Cohn, a.k.a. multifaceted rapper Serengeti, experienced two distinctly different childhoods growing up. Half of his time was spent in Chicago’s then all-black South Side with his mother — a secretary, atheist, and devout communist. The other half was clocked in the then all-white suburbs of Olympic Fields with his father — a stressed, middle-class business-owner. Though Serengeti is the great nephew of Sonny Cohn, Count Basie’s trumpeter of thirty years, music wasn’t passed down freely in the family. Instead, young David kept his musical obsessions in his head, and by the time he was ready to loose them, his skull had accumulated several album’s worth of left- field hip-hop detritus. Geti has since released fourteen albums in ten years. He made his first two nearly by accident, on the way to completing his so-called “debut,” Gasoline Rainbows. That triptych created a hefty rumble in the underground, showcasing stylish, heady raps intertwined with thick threads of soul, pop, rock and psychedelia. With 2006’s Dennehy — a character-based concept album loaded with Chi-town signposts and sports references — Geti established himself as the missing link between Kool Keith, Common Sense and Bill Swerski’s Superfans. Since, he’s been following a stream of consciousness through the darker corners of society and his psyche over an increasingly adventurous musical trajectory.


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One of the founding members of anticon/producer/vocalist/MPC detroyer. Past/present member of: THEMSELVES DEEP PUDDLE SUBTLE 13 & GOD PEEPING TOM more info