Dalek Vs. Faust

Although they claim to be always a hip-hop group, this NJ, USA-based trio’s thick and heavy music frequently alienates hip-hop’s usual fanbase and most likely has just as much in keeping with avant-rock since it does mainstream rap music. Dälek (evidently pronounced ‘Dialec’) was originated by Dälek (b. Can Brooks, Newark, NJ, USA) like a single opportunity but, having fulfilled Oktopus (b. Alap Momin, NJ, USA) at William Patterson College or university, Brooks quickly morphed the task right into a group. He fallen from his research, spending his university money with an MPC 3000 sampler/drum-machine/sequencer to record a debut also to gig seriously. Stretching five tracks over 39 mins, the duo’s 1998 debut Negro Necro Nekros unusually coalesced traditional musics, Indian raga, post-punk, My Bloody Valentine -influenced sound, and sampled William Burroughs dialogue right into a fearsome audio: the shutting ‘Praise Become The Ma’ comprised over ten minutes of responses. Following the recording’s launch, Dälek and Oktopus installed with turntablist Hsi-Chang Lin aka Still (b. Long Isle, NY, USA) while on tour. The DJ made an appearance on Dälek’s second recording, From Filthy Tongue Of Gods And Griots, released on Ipecac Recordings in August 2002. Despite sketching on theoretically interesting influences from rock and roll and jazz alongside the greater anticipated hip-hop inspirations, Dälek are generally grounded by prosaic vocals and may have a tendency towards dreariness. Problematically, lines such as for example ‘Yesterdays don’t matter right now you’re eliminated/Shattered cup of empty containers cut my hands’ can audio so humourless concerning (conversely) become amusing instead of affecting. Dälek possess collaborated with avant garde jazz music artists William Hooker and Ravish Momin, plus digital artists Velma, Couch Surfers, Child 606 and 2nd Gen, and veteran Krautrockers Faust.