FRIDAY MAR 30, 2018
529 Presents:
529, Psych Army & Speakeasy Promotions Present:
The Difference Machine (DJ Set)
Buy Muy Drugs
Dope KNife | LeemLizzy
The Difference Machine (DJ Set)
There are many planes of consciousness, but in the one that we call the here and the now, The Difference Machine are a psychedelic hip-hop group from Atlanta, Georgia. Since 2011, they’ve been at the vanguard of the city’s underground scene, creating gritty, mind-expanding anthems that explore the unifying lines between conscious rap and abstract soundscapes, the dividing wall between the blood-stained realities of twenty-first century urban America and the sublime mysticism of an opaque universe. The group’s latest sonic attack, The 4th Side of the Eternal Triangle, bumps and soars, breathing additional fire and compositional daring into their already formidable style. Your guide on this stark metaphysical journey is rapper Dustin Teague whose scathing cultural surveys and dimensional truths help give shape to producer Dr. Conspiracy’s warped beats and nuclear mystical trash alchemy. Rounding out the group’s songwriting core is longtime drummer Radley Fricker and DJ Obeah who handles most of the cuts on the record. Meanwhile, Cyrus Shahmir, formerly of psych rock cosmonauts the N.E.C., was recruited to conjure his hallucinogenic atmospheres and shamanistic vibes on guitar and keys. The result of this collaborative effort is a more expansive sound architecture layered in primal energy and head-swimming celestial sophistication. Having spent the last few years smashing stages all over the U.S. alongside Run the Jewels, Homeboy Sandman, Ghostface Killah & Adrian Younge, Deltron 3030, Shabazz Palaces, Chuck D, and fellow Atlanta rebel rousers the Black Lips, the Difference Machine find themselves well-prepared — mentally, emotionally, spiritually — for this moment. Boasting a dozen genre-bending tracks and a string of guests that includes Homeboy Sandman, Curtis Harding, Stacy Epps, and Paten Locke, this is undoubtedly the group’s defining work to date. Both visceral and cerebral, the album is as much a clenched fist to those who would practice hate and intolerance as it is an outstretched hand to those willing to embrace our universal connectedness and the power of the transcendental. In a music culture dominated and defined by an ever-uniforming sameness, The Difference Machine remains a middle finger to the demons of comfort and complacency. This is the stuff of dreams and nightmares, a dynamic and evolutive vibration drifting through the abyss of space. There are many planes of consciousness, but few that feel this urgent and profoundly radiant. Listen with care.
There are many planes of consciousness, but in the one that we call the here and the now, The Difference Machine are a psychedelic hip-hop group from Atlanta, Georgia. Since 2011, they’ve been at the vanguard of the city’s underground scene, creating gritty, mind-expanding anthems that explore the unifying lines between conscious rap and abstract soundscapes, the dividing wall between the blood-stained realities of twenty-first century urban America and the sublime mysticism of an opaque universe. The group’s latest sonic attack, The 4th Side of the Eternal Triangle, bumps and soars, breathing additional fire and compositional daring into their already formidable style. Your guide on this stark metaphysical journey is rapper Dustin Teague whose scathing cultural surveys and dimensional truths help give shape to producer Dr. Conspiracy’s warped beats and nuclear mystical trash alchemy. Rounding out the group’s songwriting core is longtime drummer Radley Fricker and DJ Obeah who handles most of the cuts on the record. Meanwhile, Cyrus Shahmir, formerly of psych rock cosmonauts the N.E.C., was recruited to conjure his hallucinogenic atmospheres and shamanistic vibes on guitar and keys. The result of this collaborative effort is a more expansive sound architecture layered in primal energy and head-swimming celestial sophistication. Having spent the last few years smashing stages all over the U.S. alongside Run the Jewels, Homeboy Sandman, Ghostface Killah & Adrian Younge, Deltron 3030, Shabazz Palaces, Chuck D, and fellow Atlanta rebel rousers the Black Lips, the Difference Machine find themselves well-prepared — mentally, emotionally, spiritually — for this moment. Boasting a dozen genre-bending tracks and a string of guests that includes Homeboy Sandman, Curtis Harding, Stacy Epps, and Paten Locke, this is undoubtedly the group’s defining work to date. Both visceral and cerebral, the album is as much a clenched fist to those who would practice hate and intolerance as it is an outstretched hand to those willing to embrace our universal connectedness and the power of the transcendental. In a music culture dominated and defined by an ever-uniforming sameness, The Difference Machine remains a middle finger to the demons of comfort and complacency. This is the stuff of dreams and nightmares, a dynamic and evolutive vibration drifting through the abyss of space. There are many planes of consciousness, but few that feel this urgent and profoundly radiant. Listen with care.
Buy Muy Drugs
The BUY MUY DRUGS' (taste that venom!) macrocosm is a system animal that manifests as our natural and physical world. Through an occidental lens, the current collective experience captures a subversion of normality; everything is not okay. The sway pharmaceutical monoliths have over our policy-makers and subsequently, our lives, has effected all sectors of society. This same power structure shapes the media we regard. In order to cope with post-truths and fake news, people turn to hyper-consumerism. In the age of alternative facts, we seek alternative drugs.
The world - in which BUY MUY DRUGS exists - harbors concerted cries from all walks of life:
The voice of two black-market alchemists with copious amounts of gold.
An arcane chairman of a multinational trap house getting high on his own supply of monoatomic gold (MFKZT, manna).
The working class, affected by the aftermath of MKFZT's commercial distribution, teeters in elevated levels of addiction.
The gentry's license to manna-fest change enabling the diet of big pharma-philosopher's stone.
All of this, in symphony, depicts a constant theme in history: man's desire to transcend the confines of the human condition and become gods.
BUY MUY DRUGS' sound is 45 minutes of designer dissonance. An Afro-Brazilian percussive mien hybridized with the aggressive, federally-sanctioned genre, "loom-bap". The bass-drunk 909s, programmed to stomp mud-holes throughout the full-length's soundscape, drive the manic transitions between maximal bliss and minimal dystopia.
DENMARK VESSEY + AZARIAS
The BUY MUY DRUGS' (taste that venom!) macrocosm is a system animal that manifests as our natural and physical world. Through an occidental lens, the current collective experience captures a subversion of normality; everything is not okay. The sway pharmaceutical monoliths have over our policy-makers and subsequently, our lives, has effected all sectors of society. This same power structure shapes the media we regard. In order to cope with post-truths and fake news, people turn to hyper-consumerism. In the age of alternative facts, we seek alternative drugs.
The world - in which BUY MUY DRUGS exists - harbors concerted cries from all walks of life:
The voice of two black-market alchemists with copious amounts of gold.
An arcane chairman of a multinational trap house getting high on his own supply of monoatomic gold (MFKZT, manna).
The working class, affected by the aftermath of MKFZT's commercial distribution, teeters in elevated levels of addiction.
The gentry's license to manna-fest change enabling the diet of big pharma-philosopher's stone.
All of this, in symphony, depicts a constant theme in history: man's desire to transcend the confines of the human condition and become gods.
BUY MUY DRUGS' sound is 45 minutes of designer dissonance. An Afro-Brazilian percussive mien hybridized with the aggressive, federally-sanctioned genre, "loom-bap". The bass-drunk 909s, programmed to stomp mud-holes throughout the full-length's soundscape, drive the manic transitions between maximal bliss and minimal dystopia.