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BEAT TAPE

“Refreshingly Crisp Sonic” New Beat Tape from Sapiano Sounds

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C O N S I S T I N G  O F  1 0  D I V E R S E  T R A C K S , S A P I A N O
H A S  C R E A T E D  A L L  T H E  E L E M E N T S  T O  B E C O M E  A
T I M E L E S S  P I E C E  O F  A R T  T H A T  C H A N G E S  T H E
L A N D S C A P E  A N D  F E E L  O F  F U T U R E  H I P H O P  A N D
R & B .  S A P I A N O  S A Y S  H E  I S  H U M B L E D  T O  H E A R  T H E
P O S I T I V E  R E A C T I O N S  T O  T H I S  P R O J E C T  A N D  I S
F O C U S E D  O N  L E A V I N G  A  L A S T I N G  I M P A C T  O N

F U T U R E M U S I C

ALBUM

Dubterraneous One Be Lo-Fi and instrumentals

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One Be Lo “After digging through my ‘90’s tape collection, I found old loops, samples & unreleased beats that I haven’t heard since cd’s became the popular format. The first batch of records (Inherited from my Stepfather…Ok maybe I borrowed them…Maybe I just took the records and never gave them back, but he didn’t have a record player any more so they begged me to spin time with them.) I ever chopped, are on these tapes. In the beginning when I first started making beats, I didn’t own any equipment besides a tape deck. I recorded samples from vinyl onto cassette so I could dissect them in my Walkman or in the car on the way to the studio with Decompoze. We booked sessions with D.L. Jones, and chopped the records in his basement. He had the ultimate set up which included the Akai S950 rack model and the infamous SP1200. We brought the records over, told D. L. where to chop, add drums, sequence, then put on tape so we could go home and write rhymes. Usually the sessions were 4-5 hours and we always left with 2 beats each. That period lasted around 2 years, then we eventually started making beats on the MPC 2000 XL.”

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BEAT TAPE

“Instrumentals to Commit Crimes To” By Sin Crawford (Short Film) Beat Tape

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"Instrumentals to Commit Crimes To"

Instrumentals to Commit Crimes To is the first installment of producer Sin Crawford’s new instrumental series. His production style is reminiscent of the old with gritty sonics over dusty drums that create an immense listening experience. Sin uses dialog as a fixture to glue the project together and tell his story without using words. The introduction into the underworld titled “The First Day I Met You” sets the stage of the album over a somber yet aggressive soundscape that lets you know his foundation and entrance into the game was met with resistance that Sin embraced with open arms. Pay dudes featuring international saxophonist Randy Resnick is a standout track from the album. The stage is set to let you know that paying dues comes in many different ways. Randy Resnick’s impeccable skill on the saxophone is evident as his Melodie’s drive the song to a hypnotic point. Sin Crawford delivers a stellar listening experience that will have the listener engulfed from start to finish. 

https://orcd.co/sincrawford

 

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BEAT TAPE

“The Devil’s Dust” by Grime ONE “Instrumental Album”

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When you hear the name Grime One and the title of his latest work, “The Devil’s Dust” mentioned, most of your assumptions are correct before you push play. No, he’s not here to make you dance… he’s here to scare the living shit out of you through instrumentals.

    But please don’t think this is an ode to the demonic ruler of the afterlife. After all, the “devil” is prevalent wherever we go and it comes in many forms. Grime’s newest dust-themed project is the descendant of his late 2021 first quarter release, “Duste Copperfield”. However, his latest work is even more potent because of the album’s dark theme, and its arrival on “Devil’s Night”, historically an October 30th looter’s paradise in the city of Detroit. In addition, this is one of the more unpredictable beat tapes you’ll ever hear.

    That’s not a bad thing, though.

    Sure, he could’ve taken the easy route and littered the album with vocal samples as hooks. Instead, the vocals he selects are used to lure you in. The samples are pitched down to add to the eerie landscape. Classic example is the album opener, “Mischief”, which begins with a murky, inaudible vocal and quickly turns into an instant head-nodding track you could visualize the Hieroglyphics crew trading verses over.

    “Devil Horns” is perfectly titled, beginning with a newscaster talking about firefighters posing in front of a burning house in Detroit. The horns soon follow, then the drums, and what sounds like an elderly lady humming a spiritual to calm her disgust with man’s evil intent.

    More interesting cuts include “Soldiers”, with its crushing rhythms, “Flatlined”, which begins with another news reporter in the intro commenting on the annual “Devil’s Night”, and “Burn It All”, a culmination of someone frustrated with their own issues plus the problems that plague their daily living.

    Basically, you can tell Grime One really did his homework. Even though the album metaphorically paints bleak pictures of a city once in disarray, amidst the dark tones of the music lies optimism and growth. In a strange way, he finds a way to musically tell you a story for historical purposes, but he also shows you there’s hope…. As long as you don’t succumb to the most powerful dust of them all…. The Devil’s Dust.

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