Posts by Thomas Diaz6

Zachary Thompson2 said:I haven't really delved into his discography before, as I only own "Private Press," and aside from maybe Monosylabik and Mashin' On The Motorway, it isn't strictly pure funk.
It definitely carries a funky vibe, much like how Funk D' Void leans into minimal techno.
But make no mistake, the quality is absolutely top-tier.

If you want true future jazz, look toward St Germain, Nicola Conte, or Patrick Forge... Jazzanova incorporates far too many beats into their sound to be categorized strictly as jazz; they are more of a fusion involving soul, hip hop, jazz, and house. When you mix those elements with hip hop, you inevitably end up in the realm of trip hop.

Think about DJ Shadow with Funk Spectrum or Schoolhouse funk. Getting into his work is a complete trip because of his collaborations with James Lavell and Wagon Christ under the U.N.K.L.E. banner, which is an experience in itself.

St Germain leans more toward deep house with jazz undertones, whereas Nicola Conte has been drifting toward pure jazz with his recent albums, even though he remains one of the most versatile DJs out there—you could almost compare him to Patrick Forge or Lata. You really ought to listen to the Jazzanova EP; it is quintessential future jazz and stands as a cult classic within the genre.

Zachary Thompson said:And here are a few more recommendations to consider:
Is Nightmares on Wax even part of that so-called "mushroom jazz" scene?

You really have to give credit where it's due when it comes to DJ Krush, particularly regarding his work on the Jak and Ki-Ok albums.

The music produced by Boards of Canada is truly singular; while certain elements occasionally echo the sonic textures of Vangelis or Jean-Michel Jarre, the vast majority of their catalog maintains a distinctively offbeat, trip-hop sensibility.

The sophisticated jazz-infused trip hop textures produced by Jazzanova are truly unparalleled.

The heavyweights like DJ Vadim, Zero 7, DJ Shadow, Sneaker Pimps, and Morcheeba represent a standard of production that most modern artists simply cannot grasp.

Nightmares on Wax - Late Night Tales is an absolutely stellar album.

I haven't really spent much time listening to Boards of Canada.

DJ Shadow is essentially pure, unadulterated funk, and he is exceptionally good. 👍 Zero 7 is alright, I guess, but Morcheeba is just pure, unadulterated soft-core whining.

Jazzanova is a true pioneer of the future jazz movement, and honestly, they’re the ones who essentially built the entire Compost Records sound from the ground up. They release an incredible amount of music, though it's important to recognize that their style is fundamentally distinct from standard trip hop.
That Jazzanova EP is exceptionally strong, blending trip-hop elements with something much more expansive. While the Remixes feature several standout tracks, and the Circles album is absolutely superb, I will insist once again that it bears little resemblance to traditional trip-hop. It is, quite simply, pure future jazz infused with traces of ambient and drum & bass.

You should also give the Howie b - Switch (Depth Charge mix) a listen 😁😁😁

nimblenomad41 said:You’re probably thinking of break Charmer? I found it here: 🙂

Exactly. 😁 I have been reading chamber this entire time.😁😁😁

nimblenomad41, you should really track down Cujo - break Chamber because it’s the absolute gold standard for trip hop infused with jazz, and if you can't find it, just shoot me an email and I'll send it over myself. 😁😁

nimblenomad41 said:In my honest opinion, Portishead and Massive Attack are the absolute pinnacle of the genre—though I suppose I should include Tricky in that top tier as well. If I really want to dive deeper into the more nuanced sounds, I find myself gravitating toward Lamb and Goldfrapp.
I honestly have my doubts when it comes to Leftfield and Faithless as well.

You really need to track down some Depth Charge; they have a depth and intensity that others simply lack. As for Faightless and Leftfield? I’ve always viewed trip hop as nothing more than lightweight music built on heavy beats—it feels like watching a helicopter struggle to take off in slow motion, just spinning its blades without ever actually leaving the ground. 😁😁

stormywolf39 said:What else could you possibly need beyond Portishead, Massive Attack, Leftfield, and Faithless? In my honest opinion, they don't even capture the absolute best the genre has to offer...

Leftfield and Faithless have absolutely nothing to do with trip hop.

Funki Porcini, DJ CAM, Cujo, Sharpshooters, up Bustle & out, Depth Charge...

The film is solid regardless of how much you all choose to trash it, and I'd argue it stands as one of Val Kilmer's finest performances. He handled every single live concert track himself, delivering a truly top-tier portrayal. Those fabricated scenes, like the moment Jim Morrison shows up at Pamela's window, were clearly added just to heighten the cinematic drama. All things considered, it’s a good movie; while there was room for improvement, it remains excellent 👍

Clinical Depression said:I just can't deal with Kejvo anymore; his obsession with death is becoming exhausting.

I was actually hoping for some lyrics that touch on past happiness, but with a heavy, melancholic undertone.🙂 🙂

Hey Slaven

Living Filth and Mass Slaughter👋 👋 👋

Thomas Diaz6 said:The guy went bungee jumping, but honestly, 👍how high was he even jumping from? It's absolutely ridiculous.
Was he trying to write some dramatic suicide novel and decided to jump just to see what it felt like 😁? Or maybe he's just lying through his teeth...

I used to train with Pierce using those outdated dome parachutes, which was actually quite an experience; the man is a bit biased, but he gets the job done. My favorite part was when we practiced plane exits—we’d simulate the aircraft door using a regular door on the ground—where you have to practically throw yourself into the dirt. All those girls with impressive curves constantly insist on repeating that drill over and over again, purely for the visual pleasure of the

👋 👋 I hear you, but Pierce seems way too intense for my taste; I'd much rather hit up some chill club instead. 😁 He did a jump back in a Small town in the Midwest at the State Fair 😁😁😁 I actually took the plunge twice in a single day there, and I even jumped off the Golden Gate Bridge once 😁

Look, Pirc, it wasn't Jurci. I was actually sitting right there in the meeting with him. If I had gone along with it, I would have been on the hook for $467 everything, including all those medical expenses. No, man, the guy did one bungee jump and that was the end of it. 😁

I have a serious desire to become a skydiver, so I’m wondering if there are any actual professionals in this group. I attended a briefing out in Newark near that guy Jurcati, and while the facility itself seems fine and the pricing is reasonable, the instructor gave off a vibe that he was way too focused on the extreme sports aspect rather than proper training 😁
Consequently, I would appreciate some recommendations for reputable clubs where I can actually learn the ropes, along with a breakdown of what the typical costs look like and exactly what those fees cover.
Thanks!

Henry Barnes12 said:Look, Thomas Diaz6, your answer is completely off base and frankly quite poor.
Why?
Because in this country, there isn't a single meaningful legal framework designed to actually protect intellectual property rights. What we have instead is a pathetic, flimsy system where you might be able to register a project, but even then, it’s just a temporary fix that costs a fortune for almost no real security.

I need you to elaborate on this further.
Am I supposed to just translate everything into English and try to file for protection in the USA? Is that even remotely possible through just the mail and the internet?

Here is an example. Suppose Lokas develops a concept like "The Questionnaire." What is the actual protocol he should follow once that idea exists?
How does one pitch such a project to a network like NBC while ensuring it remains fully protected and isn't simply snatched by someone else?

Does anyone actually know the formal procedure for licensing a TV project? I have an idea that requires a bit more development before it's ready, so I am trying to figure out how this whole process works.

W.A.S.P. are absolutely fucking garbage.

Kevin Chavez3 said:What is wrong with him? 😛

The thread is misplaced. 😁 At this point, the moderators might as well just ban me. 😁

Tom Waits - Black market Baby