Credits & Info

Uploaded
Apr 11, 2017 | 5:34 PM EDT
File Info
Song
11.3 MB
4 min 57 sec
Score
3.56 / 5.00

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Licensing Terms

You are free to copy, distribute and transmit this work under the following conditions:

Attribution:
You must give credit to the artist.
Noncommercial:
You may not use this work for commercial purposes.
Share Alike:
If you alter, transform, or build upon this work, you may distribute the resulting creation only under a license identical to this one.

*You may not use this work without making specific arrangements with the artist UNLESS your work is a web-based game or animation, in which case you may use this freely.

**Contains third-party samples.
Excercise caution when using it, refer to author comments / contact the author for details.

Score:
Rated 3.56 / 5 stars
Plays & Downloads:
439 Plays | 3 Downloads
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Genres:
Electronic - Trance
Tags:
epic
industrial
psychadelic
gritty

Author Comments

I put this together today out of boredom, mostly...but I was looking for some cool sample material, and I discovered this '83 documentary on graffiti. I started listening to some of the things the artists were saying, and it got me thinking about McKenna on authoritarianism.

I realize it might be difficult to make out exactly what's being said from time to time - part of this is because of the quality of the source material, but I didn't do more to clean it up because I want you to focus on the music more than the words. That said, here's a list of citations and a transcript if you're curious what little tidbit you might've missed.

Also, I understand that in it's current state it's not very useful to a whole lot of applications. If you'd like to use the music without the samples, PM me, I'll render it in whatever format you want with or without the samples :)

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Sources:
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Source Video A (a):
Style Wars (1983) - https://youtu.be/0EW22LzSaJA

Source Video B (b):
Terence Mckenna Resets Your Mind - https://youtu.be/n8ejRou1BMM

Source Video C (c):
How The Government Is Controlling us Terence Mckenna - https://youtu.be/gwGROO6vx0c

==========
Transcript:
==========

-
a:
-
Graffiti writing in New York is a vocation. It's traditions are handed down from one youthful generation to the next. To some, it's art. To most people, however, it is a plague that never ends.

Graffiti, as the name itself...is not an art. Graffiti is the application of a medium to a surface. I will show you graffiti (x3). Is that an artform? I dunno, I'm not an art critic. But I can sure as hell tell you, that that's a crime.

I will show you graffiti...is not an art.

Is that an artform? I dunno...but I can sure as hell tell you...that that's a crime (x4).

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c:
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What the government would have us believe, and perhaps believes itself, although I doubt it, is that we would return to the beast.

That's all, you know, we would just shoot junk, and toot blow, and flop around in ruinous orgies until hell froze over.

And THEY, wiser, sterner, more disciplined than ourselves, represent the ediface of moral authority. This is a "I'm doing it for your own good" trip, see?

-
a:
-
At the Grand Concourse 149th St. station in the Bronx, graffiti writers gather at, what they call "The Writers Bench."

Nah, I ain't running the system; I'm bombing the system. They trying to make it look like graffiti writers break windows, and everything - it ain't even like that. You know who be doin that, man? N***a's who be high when they come from school are the ones who break the windows.

It's a matter of gettin a tag on each line, in each division. You know, it's called goin "all city." People see your tags in Queens, Uptown, Downtown, all over.

It's a matter of bombin, and knowin that I can do it, you know? Everytime I get in the train, almost everyday I see my name, I say "yeah, you know what? I was there, I bombed it."

It's a matter of - for me it's not for nobody else to see, I dont care - I dont care about nobody else seein it, or the fact that they can read it or not. Its for me and other graffiti writers, so that WE can read it. All these other people who don't write, they excluded - I don't care about them, you know? They don't matter to me.

Everytime I get in the train, almost everyday I see my name, I say "yeah, you know what? I was there, I bombed it." It's a matter of bombin, and knowin that I can do it, you know?

-
b:
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Now the whole context of the problem changes, and the problem becomes changing our own minds. Controlling the hand that controls the energy, and this an entirely different kind of problem. It is not to be solved with the analytical knife plunged again, and again into the body of nature. That whole approach is seen to be, at best passe, at worst bankrupt.

Reviews


TaintedLogicTaintedLogic

Rated 3.5 / 5 stars

I’m not sure I like the competing vocal samples at the beginning. The transition at :13 was really rough, too. The beat is catchy, but by the 1-minute mark or so, it’s clear to me that you’ve overused the vocal samples. I’d like to see you introduce some more melodic content earlier in this piece. The mixing and mastering is pretty solid, though. Drums are crisp and sit well in the mix. I also wanted to see you use the entire frequency range more during the first 2 minutes of this piece. I’m really enjoying the dreamy, upbeat mood by about 2:20, but I’m not sure exactly how that’s related to the theme of graffiti. I wish you had focused more on some melodic development than on threading the vocal samples throughout. The only melodic riff you have in there is only a bar long. At the same time, I did like how you alternated between using academic voices and people involved in the movement in your vocals samples. The instruments you used often came across as generic, though. I also thought it would’ve been more effective to reserve the vocals for an intro, breakdown or bridge section, and outro instead of weaving them through the entirely piece constantly. That way, you afford the listener a chance to appreciate the structure and instrumental a little more, because to the casual listener the way the vocal samples are connected may not be so obvious. Overall, I appreciate your efforts here. You’ve taken some risks here with the structure and sound design, and the mixing and mastering is hard to complain about. Keep at it, man!

6.5/10


EoD696 responds:

Thanks! I'm glad you appreciate parts of it, and I'll take your criticisms into account in the future. I wanted the vocal samples to exist in-lieu-of lyrics. So it was important to me that they fit into the piece as a lyrical motif, rather than a few short cuts at specific points. If more of the samples were rhythmic (like "I will show you graffiti" and "Everytime I get in the train...") I think your suggestion works well. But..because there were such complex concepts to portray overall (society's lacking acceptance of graffiti as an art form, new ways to think about social authority and it's purpose in our life), I think that approach in this instance would fall short of the goal. I'm stoked that you dig the sound. That's the hard part, honestly, lol. Thanks again for the feedback! Bummer that you couldn't afford me a better score...


YaboiMatoiYaboiMatoi

Rated 5 / 5 stars

I've been listening to this track the whole time but never wrote anything about it here.
Dude, I love this one. The documentary is like this cherry on top that just has to be there.
Adds so much to the feel. Love how the instruments work together. The drums are punchy and the pads/synths fill up the space nicely!


EoD696 responds:

Thanks man! You're awesome!

I have to say the vox really did play into the composition...but it was an affair that lasted a few hours. It's kinda blurry to me, lol. I enjoyed the process though. Felt like old times...


DreDre

Rated 5 / 5 stars

Good beat, bassline, chords, variations. It's all there. It would be cool to have a few more drum variations and some different leads, but overall this was dope


EoD696 responds:

Cheers m8, thank you.