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MUSIC Postmodern hip-hop with an edge: ![]() The Ownership Society by Surfdaddy Orca
"Everything begins with an idea. Man can create anything he can imagine” So begins “Progress” from Second Life resident Helmholtz Beerbaum’s new 2007 release, "The Ownership Society." (Beerbaum is also known as Main Sequence of Bridgetown Breaks Records.) This could easily be an advertisement for Second Life itself where, after all, it is “Your World. Your Imagination.” The term “ownership society” was used originally by President Bush as a phrase to rally support for his tax-cut proposals. The idea is that individuals can control their own lives and wealth, rather than relying on government payments. From 2004, Bush supporters characterized the ownership society in much broader terms, including specific policy proposals concerning medicine, education and savings. Beerbaum’s CD explores all sides of this issue with hard hitting hip-hop, experimental electronica, trance, and ambient tracks using a collage of old radio, film and television voices. His style and presentation has been compared to DJ Shadow’s famed Entroducing. Reports Casey Jarman of Portland Oregon’s Willamette Week: “Sequence uses disembodied voices to cut through spacey, soundtrack-worthy instrumentals.” The CD’s imagery and thematic development can be characterized as “movies for the ears.” No TV or 5th generation video iPod is needed to visualize the 15 tracks that make up The Ownership Society. Tune in, turn on your MP3 player, and zone out into a vivid dream-like aural landscape.
Beerbaum explores the theme of good (and bad) government on several tracks. Nevertheless, the Ownership Society features songs that fit in a variety of genres, with each song thematically unique. “Belmont” (track 13) is an electronic instrumental with a beat, “Fader” (track 5) is a dance track, an homage to the music of the South, both past and present, and “Pay to Play” (track 15) is hard-hitting hip hop, featuring friend and veteran Compton, California underground MC, Loc Thiese, furiously ranting about our national priorities. Perhaps Jarman best captures Beerbaum/Main Sequence: “Puppeteer. Maybe that’s the best title for Main Sequence, who speaks vicariously through his splintered, sound-bitten victims, transforming them from forgotten fragments of pop culture into unwitting spokespersons for the coming revolution.” And the revolution is here in Second Life, and it will not be televised. The Ownership Society and Jarman’s full review are available at www.bridgetownbreaks.com. * * * Sponsored Links |
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