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There is a dialogue - a story, if you will - rooted in swing and bass, going on between Los Angeles and Detroit productions. While that could be off-putting to some traditional house-heads, such immediacy feels right at home if you came up listening to Theo Parrish‘s Ugly Edits or other Black house-centric white labels. The Space Program is on a mission, with a schedule to keep. From the jump, we know this transition to the 4/4 form would not be gradual, nuanced, or stretched out. His impact on mainstream artists was profound: Erykah Badu, Kendrick Lamar, Kamasi Washington, and Radiohead’s Thom Yorke, among many, all got it.ĭance of the Cosmos by Ras_G & The Afrikan Space Program On Dance of the Cosmos, one of his last releases, this pioneer was still challenging himself - this time with a dedication to the four-on-the-floor tabernacle of Chicago House.
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At the long-running and influential LA club night Low End Theory, Ras G destroyed speakers, rattled ceilings and made that beat scene feel like a family. His bass left a footprint in your chest, a thumpasaurus that tinny streaming services and their computer speakers can’t deliver. Ras G started releasing music in 2005, helping give the LA underground beat scene an international identity, despite the fact his music never hit the top of anyone’s charts or amassed notable amounts of streams. In the way that Black Girl Magic has always been there - though it took Morrison to speak the term - Ras G had the insight to connect J Dilla, through Jamaican dub and Reggae, by way of Sun Ra’s cosmic Jazz, and then ride it into the Nebula. Delivered in our tongue - dispatched by our drum.
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Intuitive inventiveness weaving across two entirely different generations, mastering separate tools and skillsets, communicating various shades of the Black experience. Both were educators and community builders whose work hacked new territory. I realized when Toni Morrison and Ras G both got called home to Saturn in the same calendar year, that storytelling was the theme running through Black Electronic music in 2019.
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When in 2016 Ras G said that his Gospel Of The God Spell beat tape came from two weeks of running through the Gospel section at Poobah Record Shop, the Pasadena wrecka stow he worked at, making quick freestyle beats during his bluntch breaks on a Space Program 303, it was clear: he was Leimert Parkʻs Brian Eno, its Lee “Scratch” Perry, and so much more. Its lo-fi sonics told a large swath of young Black folks that WE can exist and flourish on this frequency. made his self-proclaimed “Ghetto sci-fi” music on a Roland SP-404, an electronic sampler that loops and manipulates sounds using 12 rubber pads. Simply put, Ras G created the space for a whole generation of Black (and non-Black) LA electronic music producers to exist. This Los Angeles-based visionary, beatmaker, and Afrofuturist, who was one of the founding artists of Flying Lotus’ Brainfeeder imprint, passed away on July 29. It’s downright disrespectful to discuss the year in Black electronic and dance music without first acknowledging Ras G.