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- S O U P - ▓█ ▀█▄ ▀█▄
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┌───────────────────────────────────────────▄▀ ▄█▀───────────────────┐
│ s o u p p r o u d l y p r e s e n t s │
└────────────────────────────────────────────────────────────────────┘
│
│ dj olive-bodega
│
│ artist ........ dj olive
│ title ......... bodega
│ release date .. 2003
│ label ......... the agriculture
│ cat. no ....... AG026
│ url ........... www.theagriculture.com
│
│ rip date ...... 01-24-2004
│ genre ......... lo-fi
│ quality ....... VBRkbps / 44,1Hz
│ time .......... 53:30 min
│ size .......... 81,8 MB
│ source ........ cdda
│
└──────────────────────────────────────────────────────[ S O U P ]─┐
│ release info │
└──────────────────────────────────────────────────────────────────┘
│ │
│ EGO did DJ_Olive-Bodega-2003-EGO, but this release is a │
│ continuous mix and should've been ripped as a mp3/cue. │
│ hence, here is the proper release │
│ │
│ DJ Olive drops his first solo full length, "Bodega", a fast │
│ paced continuous mix of 17 ass shaking tracks that sound like │
│ they were scraped off old funk and dub 7"'s. This is a new │
│ gritty sound best described as hanging out behind a Brooklyn │
│ bodega with drums, horns, dancehall rhythms, and passing jeep │
│ bass while folks woop and holler. │
│ │
│ below are some reviews │
│ │
│ │
│ XLR8R │
│ │
│ DJ Olive's "Bodega" is the sound of the barrio rewired and │
│ recontextualized, a genre-defying mash-up encompassing │
│ everythign from brash Latin horn solos to twangy spaghetti │
│ Western guitar riffs to reverberating dub basslines. Not at all │
│ what one would expect from an avant-garde turntablist who's │
│ collaborated with names like Sonic Youth's Kim Gordon and free │
│ jazz legend John Zorn, but it's an irresistably funky and fresh │
│ collection of backtard bangers all the same. The end result is │
│ blended seemlessly in the style of a block-party-rocking mix │
│ disc. Muy sabroso! │
│ (Brock Phillips) │
│ │
│ │
│ Other Music │
│ │
│ Everyone loved We's first album, "As Is." I mean, I'd hand it to │
│ anyone with ears on their head, and they'd come back agreeing │
│ with me that it was soooo good, and/or changed their whole │
│ stance on electronic music. Popular opinion was that after the │
│ first album, the sophomore jinx set in, then despite a few │
│ highlights, the recorded output never quite matched the quality │
│ of the first album ... Now about Olive's album: This is the real │
│ shit. Puts the motherf*ckin' "ill" back in illbient. The first │
│ "section" (five tracks seamlessly blended) brings to mind B-boys │
│ battling with switchblades. Graceful and dangerous. The tracks │
│ have that inimitable "technorganic" sound that We is famous for. │
│ Bionic dub-rhythms are hooked up with countless well-placed │
│ layers of sound to create a free-flowing stream of urban bliss. │
│ Track six marks the beginning of the Latin side of the │
│ neighborhood. Seems Olive intends to show us around his favorite │
│ spots in Brooklyn and Manhattan. Cool ... (The rhythms heard │
│ bleeding out of countless car-systems in various NY streets │
│ appear throughout the album, masterfully blended in.) In "Ballad │
│ and Scrambled" the tropical vibe reappears but suddenly breaks │
│ into an underwater quiet storm, then back again into the beat. │
│ Olive is master of the switcharoo set-up breakdown, always │
│ changing directions beautifully. Another album I'd recommend to │
│ anyone. Bodega is an A.D.D. masterpiece. │
│ (Scott Mau) │
│ │
│ │
│ Earplug │
│ │
│ One would expect the DJ who coined the term "illbient" and whose │
│ nickname is the Audio Janitor to take listeners on a twisted, │
│ mind-warping ride. Instead, Brooklyn-based DJ Olive's debut LP │
│ Bodega takes you on a summertime strut through barrios, block │
│ parties, and stoop jams while the Jeeps bump, ghetto blasters │
│ blast, and eclectic sounds simmer from open windows. It's a │
│ warmly produced non-stop mix of organic sounds ╤ flamenco │
│ guitars, distant voices, frantic bongos, and wild horns ╤ as │
│ well as electronic glitches, bouncing rhythms, and Jamaican │
│ style dubs that fade in and out. After many collaborations with │
│ downtowners like Kim Gordon, Elliot Sharpe, and Ben Neill, DJ │
│ Olive's debut solo turn is a true New York soundwalk. │
│ (Aaron Miles) │
│ │
│ │
│ Spill Magazine │
│ │
│ Describing Bodega as a randomly warped and twisted journey of │
│ chopped up funk- rhythms, dub, down-tempo and nu-jazz would be a │
│ fair assessment, it would also only be scratching the surface. │
│ Having worked with such notables as Kim Gorden (Sonic Youth) as │
│ well as jazz-fusion pioneers Medeski, Martin and Wood - Bodega │
│ is an excellent showcase for DJ Olive's mixing abilities as well │
│ as creative intelligence. │
│ │
│ Covering both the darker and lighter sides of the electronic │
│ spectrum, Bodega is an intricate and often times complicated │
│ undertaking. Although the album has a definite non-commercial │
│ feel to it - the progression and story telling quality of the CD │
│ keeps from alienating the listener. │
│ │
│ Provided your guests understand that electronic music expands │
│ beyond the world of Dirty Vegas and Fat Boy Slim, Bodega is │
│ perfect for an intimate late-night listening session as well as │
│ an amazing CD for your bed to envelope you in. │
│ │
│ (Jeff Cann) │
│ │
│ │
│ nth Position │
│ │
│ DJ Olive, however, has a far more aggressive approach to his │
│ source material, much of which he hacks, mutilates and distorts │
│ beyond recognition. Bodega is full of hallucinatory jump cuts, │
│ surprising interjections and in-your-face eruptions of noise. │
│ This is his first full-length solo release and is long overdue. │
│ He has put in sterling work as a collaborator with people such │
│ as Sonic Youth-s Kim Gordon, Ikue Mori, Bill Laswell and John │
│ Zorn, never failing to lift the music whenever he is present; │
│ but until now, comparatively little of his own material has made │
│ it to disc. All sorts of references get cited as precursors of │
│ hip-hop of this kind (funk, dub, Latin, breakbeat etc), but to │
│ me, this seems to hark back to another form of defiantly │
│ disruptive music. Just as house music cited Kraftwerk as key │
│ precursors, elements of CDs such as these bring to mind │
│ Kraftwerk's fellow Krautrockers, Faust, particularly The Faust │
│ Tapes. There is the same ruthless chopping between radically │
│ different tonal palettes, pure noise, bursts of found sound and │
│ general disregard for traditional musical language. In both │
│ cases a vivid, fresh new sound emerges. While it is not │
│ something I've ever seen acknowledged, I do wonder if a few │
│ Faust albums are lurking at the back of these guy's record │
│ collections, and indeed they did collaborate with New Jersey hip │
│ hop merchants Dalek on a track from their 1999 album Ravvivando. │
│ (Ian Simmons) │
│