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| Because everyone likes this record.
But why? What's in Doom's and aliases and folks'es
beats that is just so dope? Much boils down to the
selection of samples. Maybe much boils down to samples
being selected. Because a sample is still so much
more hip hop, than a keyboard stroke can ever be.
But that's not all. Here the samples also get treated.
There's a strange mixture of looping, chopping,
completely messing it up and just leaving it like
it is going on, happening And along with that there's
a lot of drum treatment and I don't give a damn
going on. Therefore a track like "Arabic
Gum", that's used for purification,
is changing the speed like a chameleon changes colors
standing in front of a rainbow. The knowledgeable
heads will obviously know what kind of brick this
track is, and they'll also appreciate how very well
this stands by itself. |
| And the scientists will respect
the difference of this dirty and gritty offering,
to the plush and loving "Benzoin
Gum", used for grounding and
stabilizing. With the one previous to this and the
this one being two of the favorite offerings on
here. The latter however is not just consisting
of a magnificent orchestration sample, the drum
is programmed nicely. And the little voice leftovers
from the sample, just make this rustically better.
Moving on we get an excellent "Bergamot
Wild", and next up "Calamus".
And hearing this you can think of about nine people
you want to hear rhyming over this beat, along with
about twelve others that would ride the track even
nicer then about four of those nine people. |
| Further down the line there's a
harder "Dragon's Blood
Resin" and a disco shaking "Elder
Blossoms" and finally another interestingly
(to say the least) programmed speed changing "Styrax
Gum", that uses some De La without
trying to hide it. What tells you that this herbal
tee here got as much flavor as does the sweetest
Ricola bonbon. And it's just as good for your health,
spirit and well being. Therefore pick this up quicker
than IRS employees pick up tax fraud rumors. |
| review:
tadah |
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