2​|​3​|​4

by Derivitive

  • Compact Disc (CD)

    3 Cdr set collecting the second, third and fourth albums in the Derivitive ouvre...which can be viewed/heard in the albums:

    Of Heaven/Of Hell

    fukminatemusicpublishingunderwrittenbycastroblendcorp.bandcamp.com/album/of-heaven-of-hell

    Monsterzz Ball

    fukminatemusicpublishingunderwrittenbycastroblendcorp.bandcamp.com/album/monsterzz-ball

    The Whaling Wall

    fukminatemusicpublishingunderwrittenbycastroblendcorp.bandcamp.com/album/the-whaling-wall


    Derivitive are G.Castro|A. Camba|L. Cancio

    In an attempt to give the Derivitive discog a proper read this 3 CDR set presents the second, third and fourth albums concurrently. Derivitive 1 aka Salad was appropriately received by The Wire as a hip hop album that operates on the very edges of what can still be considered hip hop when beats are afterthoughts, there are no rhymes or bluster and electronic drift is embraced. The short answer is that the one constant in Derivitive is that intent is never steering the ship and that experimenting or "fucking around" is the order of the day. A lot of the work is done live, in one take or improvised or produced and pieced together in post production. The music that appears as a more or less clear statement in Derivitive 1 were recorded at the same time as the tracks in the follow up album Of Heaven/Of Hell. And in listening to both albums it would seem some sort of shift occurred between albums but what is perceived is simply track selection, song sequencing and placement under general "feels" etc. Salad's hazy non corporeal litheness is in stark contrast with OhOh's opening track of Isely Brothers sampled almost Kanyeness. This stark shift could be seen as a step backwards or sideways and not forward but what is in evidence is actually the emergence of third member L. Cancio. Salad was dominated by the extreme iterations of primary audio generator A. Camba. Album 1 was put together to showcase his approach and take on word and beat. L. Cancio shares the stage on OHOH and here we see a cementing of commingling elements: tried, true boom bap with fearless sound sculpture. OHOH rapid fires its way thru style, form and formlessness and still attempts to call it hip hop.
    A word on the lyrical approach and practitioner: full disclosure: the emcee is the one responsible for these liner notes therefore very little will be said about the lyrics except this: when Derivitive began it seemed only natural that I would be the vocalist if only because I had done so much writing up to that time. Poetry. Inspired by Burroughs, Langston Hughes, 90s hip hop, Piri Thomas, Joe Frank et. Al. In my reverence for rappers I would never attempt to be one of them. I simply read what I wrote. And whether significant or not the mood and thrust of Derivitive is in my hands. To say I am bleak is an embarrassment of obviousness but being primarily vocalist allows me the distance to also listen to the music and put my fingerprints all over artwork, song titles and what Derivitive looks like before you hear what it sounds like.
    I almost certainly always hear epic sprawl in Derivitive and can't help myself in this way.

    Monsterzz Ball or Derivitive 3 is born out of real sweat in real time. The opening track Tillers On Behalf Of The Will Of Jeebus is one straight take all the way through and builds into an anti crescendo of clenched frustration. Whereas hip hop is still lingering strongly in previous efforts here it seems to fall to the way somewhat. Real sonic WTF is the order of the day. Actual waltz time, beat/scratch reversal, post human vocals and lyrics, "noise" make this brutal assault real, felt and true to what Derivitive's unstated purpose is.

    The Whaling Wall or Derivitive 4 was recorded in the Summer/Fall of 2016 when the US election cycle produced the world we are living in now. This is/was the first new Derivitive material recorded in over ten years and it simply happened by having all 3 members present in a room together because there certainly wasn't any real equipment or instruments to use to make this music. The political climate colored the proceedings appropriately. These are all live sessions with some post production and cut and splice but these performances all happened in real time. The Murder Capital Of The World happened in one take. It's über verbose content accompanied expertly by A. Camba and L. Cancio. As the content often states and delineates the shit bleakness of things is the best comfort we have sometimes. I welcome the opportunity for our life's work to enter and threaten yours. Presented in this way the work can be digested as part of an overarching whole that spans a decade or so of wrestling sound and words into form and non form or just making hip hop. -G. Castro

    ... more
    ships out within 14 days
    edition of 50 

      $24 USD or more 

     

  • Full Digital Discography

    Purchasable with gift card

      $88.40 USD or more (35% OFF)

     

about

There is no download version of this collection. Downloads are contained within Of Heaven/Of Hell, Monsterzz Ball and The Whaling Wall albums respectively. If you only want downloads it's cheaper that way. If you insist on purchasing this as a download I will send you download codes to whatever email you provide, I guess

credits

released June 5, 2018

tags

about

Fukminaté Mewziq New Jersey

Soladaridad Con Migrantes
Con Orgullo De Sangre Guatemalteca

Specializing in
“Brutalist Post Hip Hop”

Process and generative musics
Caricature studies
Thematic exposition
Song
Incidental Improvisation
... more

contact / help

Contact Fukminaté Mewziq

Streaming and
Download help

Redeem code

If you like 2|3|4, you may also like: