Infinite Livez vs Stade

Art Brut Fe De Yoot [HipHop / Rap]

RELEASE: 09.03.2007

LABEL: Big Dada/Ninja Tune

VERTRIEB: Rough Trade


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Ganz schön durchgeknallt dieser Infinite Livez. Das hat er nicht zuletzt mit seinem mittlerweile 3 Jahre alten Album „Bush Meat“ unter Beweis gestellt.

Zum Album “Art Brut Fe De Yoot” (Big Dada / Ninja Tune / 09.03.2007) hat er sich nun mit dem Schweizer Duo Stade zusammen getan und in einer Live Session 11 Songs erarbeitet, die sich an den Grenzen von Hip Hop, Jazz und Electronic Music bewegen. Ein herausforderndes Hörerlebnis mit improvisierten Instrumentals, spontanen Lyrics und ohne Overdubs.

Count up the records you’ve heard recently which don’t sound like anything else. The ones which don’t artfully reference previous classics or jump on to a revivialist trend. Records which seem to come out of no particular space or time and do so with such force that you have to admit this really is something different. Got any fingers up yet? No? Then drop “Art Brut Fe De Yoot” into the cd player…

In 2004 Infinite Livez was touring Europe promoting “Bushmeat,” his debut album for Big Dada. The rapper best known for surreal, weird-out,sex rhymes like “White Wee Wee” was approached at a show in Switzerland by an intense man called Pierre who wanted to know if he would like to record a track with his project, Stade.

Stade are an improvised electronic music duo formed by Pierre Audetat (samplers/keyboards) and Christophe Calpini (samplers/drumpads) who have played and recorded with singers like Wayne Paul and Nya, avant-garde musicians like Elliott Sharp, Gregoire Maret and Joy Frempong and electro-jazz players like Erik Truffaz and Nils Petter Molvaer.

Stade and Infinite laid down a few note worthy tracks, but it was only when they invited him back to Switzerland to record a live session that the three musicians began to see the possibilities of what they were doing. Working live, Stade improvised with presets of samples triggered by keybords and drumpads. Infinite added spontanteous songs, raps and a cacophony of sound, running his micropohone through a barrage of effects pedals. So intrigued were the trio, they embarked on a series of marathon recording sessions.

“Art Brut Fe De Yoot” can be seen as the first edited highlights of these sessions. There are no over-dubs, no second takes, just three musicians pushing at the limits of hip hop, jazz and electronic music and not sounding much like any of them. It’s an album ruled by dream logic, from the pleas to wake up on “(^_^)zzZ” to the stalled monster stories and looped lostness of “Right Here Right Now”. It touches on the scatological humour which distinguished Inf’s debut on “The Ballad of Baby Man” and “Unbiased Reductionism In 21st Century Music Practice” (the title itself being the first joke). It moves into new realms of voyeur-soul of “” and slips beyond lyrics into fat-tongued drawls on “Track 10” and post-tango rumpus on “Confessions of a White Backing Band”.

“Art Brut Fe De Yoot” is an album which is often poised, sometimes beautiful, occasionally filthy, regularly funny but always weird. That’s “weird” meaning new, strange to the ear and utterly compelling.

(Quelle: Verstärker, 10.1.2007)


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