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caltropspress · 1 year ago

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DEBRIEFING: 5 August 2023 | Brooklyn, NY | The Nursery at Public Records

Armand Hammer’s We Buy Diabetic Test Strips Pop Up Party, featuring Fatboi Sharif, Cavalier, and DJ Haram

On the helix approaching the Lincoln Tunnel I saw a Virginia plate that read PHUNKE—its occupants seemed anything but, but who am I to judge? Not since I saw EGO DETH on a Volkswagen Kombi in the artificial light of the Holland while driving in to see woods’ Church release show at Baby’s All Right in early June have I taken a license plate as a sign. Fred Moten writes that “the sign works its terrible magic precisely from within a radical non-isolation,” but it’s a bit too early in the everyday struggle for theory, wouldn’t you agree? What I’m focused on is the WE BUY DIABETIC TEST STRIPS signs plastered over walls and poles. A sight as common in NYC as POST NO BILLS and CA$H FOR CAR$. We close our eyes to these signs, oblivious to their ubiquity. We’ve become blind to them. But I saw the sign with “Armand Hammer” appended to it, and it opened up my eyes. Life is demanding without understanding. So I overstand the signs and signals sent through wires and cables when I dial 1-877-ARM-N-HMR. I focus. I fixate. I study Alexander Richter’s photograph from the forthcoming album of a lamppost covered in taped and torn flyers. The edges fray and flicker in city winds. Looks like the tendons and flesh rotting from the bones of Death in Hans Baldung Griend’s Der Tod und das Mädchen (1517) painting. Looks like some real litter-ature. Gathering on August 5th, just six days shy of hip-hop’s much-heralded 50th anniversary, I think of hip-hop flyers of the past, specifically Kool Herc’s Back to School Jam at 1520 Sedgwick. But MC Debbie D—a flyerologist of the highest order—tells us that the index card flyer is a phony, a fake, a fugazi replica, a forgery. Fifty years into this thing and we’re still searching for authentic experiences. Fifty people at a rap show and one’s an informant. I’m here to inform on what felt—brain to bone—like an authentic experience.

3PM in the sun. I lined up with the other RSVPs (the show was free, in every sense of the word) outside the venue. Summer summer summertime. Fresh Prince via Juice shit. The temp on my dash read 90°. Kids walked down Butler Street mantled with beach towels from the Douglass and DeGraw Pool. Spotted lanternflies dive-bombed my legs. Thank god I lotioned my pale neck. When the powers-that-be finally allowed us entry, the musk of maryjane and malignant body odor was thick. Now I knew (it hit me in the fucking face) what that PHUNKE license plate was all about. “Funk,” from the French dialectal funkière: “to blow smoke on.” I’m not complaining, though—it was a communal fumigation. We were funky technicians, one and all.

“The Nursery” that Public Records has built falls somewhere between greenhouse and Zen garden. The square space is essentially an urban enclosure where pine and plane trees and fresh lumber create a private performance patio, a paradise just beyond the concertina wire, as woods might say. The stage is bedecked with potted cacti, while I spied A. Richter across the way with his Fujifilm GA645Zi amongst the bamboo stalks. ELUCID’s green Champion mesh football jersey (the Bo Jackson jersey in the laundry, apparently) matched the soundsystem monitors, and I found what little shade there was to be had and huddled close to the soundman’s booth, a shed of glass. I almost managed to forget I was cordoned off by beige shipping containers.

It wasn’t long before I was entertaining the idea of going full Fatboi Sharif, i.e., shirtless. Sharif himself only made it through half his set before shedding his garb—there wasn’t even a hospital gown in sight. The heat was on as soon as he came out to Can Ox’s “Scream Phoenix”—rising from flames. El-P’s Phillip Glass sample could’ve easily made a Sharif beat (we’re only talking a single generation removal, really). Sharif made quick work of some of his most recent altered realities. “Static Vision” included a call [I ain’t scared!] and response [Motherfucker, I ain’t scared!]. He ran through “Phantasm,” “Dimethyltryptamine,” “Designer Drugs,” “Think Pieces,” and “The Christening” like a buxom blonde through an abandoned building, revving chainsaw in pursuit. At times, his speech slurred into a makeshift Swahili (word to This Heat). It was strange to see Sharif in daylight, sunstruck, as I’m so used to seeing him in blood-flooded cellars or Joseph Conrad’s heart of darkness environs, like he alludes to on “Dimethyltryptamine.” He barreled through ventricles, riding shotgun in Sir Menelik’s Space Cadillac. DJ Boogaveli (who hypes up Sharif like it’s a pep rally at Springwood High) shouted about family at the start of “The Christening,” which sounded sincere compared to the tone Sharif takes on Decay—there the family must be of the Manson or Duggar milieu. He finished the track acapella, exhausting the last of his energy, only to reinvigorate and reanimate for a rioting rendition of “Smithsonian.”

I’ve yet to invest the necessary time into Cavalier’s work, though I know him from his association with Quelle Chris. With an album coming down the pike from Backwoodz, I found myself in the lucky position of witnessing his set incapable of discerning old material from new. He took centerstage, acting as his own hype-man and DJ (though he did high-five the invisible “DJ Light-skin” at one point), and his kineticism was immediately apparent. His floral button-down danced over his body as he rapped vitally. I felt vivisected by his exhortations and incisive observations. Keep in mind, my age prohibits me from becoming enthralled by any performer whose work I’m unfamiliar with—a sort of neuropathy of the soul. But he had me open and endeared by the time he implored, Put the tiger balm on it, put the tiger balm. As you wish, Cav. I lathered my chest.

“Y’all believe in magic? No? That’s okay.” Cav said it so quickly that he didn’t give anyone a chance to answer, but he assumed correctly, I think. Still, I was smitten by his conjurations—he made me a believer (no small task). “King me,” he rapped, “I’m trying to make it all across the board.” And, by the end of it, he had the entire crowd shouting “KING ME” back at him without a problem. MAKE SOME BLOODCLOT NOISE! he growled, and we didn’t need to be asked twice. IT’S VIBRATIONAL, AIN’T IT? With a seemingly innocuous phrase he was able to summon the spirit of the crowd. Over the course of his 25-minute set, I heard him rhyme epiglottis, brag of spitting a verse while performing cunnilingus, give a lesson on homophones, and regale us with stories of winking at cops in Whole Foods. “From the Tree of Life I smoke foliage,” he said, and the trees Betty Smith saw grow in Brooklyn circulated through his lungs. “We need to bring back weed spots—it’s not nostalgia.” Though he did rap nostalgically at times, letting us know he was born in BK, went to school not far from where we stood, and though he’s representing the 504 now, Brooklyn born-and-raised ossified his being into bone.

THIS IS CHURCH, YA FEEL ME? And I did feel him. I spent the week culling quotes about improvisation from Amiri Baraka’s Black Music (1967) for another self-assignment (I don’t work for anyone, son), and highlighted this passage: “...to go back in any historical (or emotional) line of ascent in Black music leads us inevitably to religion, i.e., spirit worship. This phenomenon is always at the root in Black art, the worship of spirit—or at least the summoning of or by such force.” [Peace to Kehinde Alonge—always at the ready with choicest recommendations.] Cavalier danced upon the altar and rapped his sermon relentlessly, tirelessly. I was raised up on tippy-toes, enthralled by the force of his spirit. THIS AIN’T JAZZ?! he asked. WHAT THE FUCK THEY TALKIN’ ABOUT MAN? I don’t know who’s doing that sort of talking, but they’d be hard-pressed to say such a thing in this public gathering. “Brooklyn, this is how it feels—all of us together: this is how it feels.” I believed in Cavalier’s magic by the end of his set. I was charmed by his satchel of High John de Conqueror. Let me know where to Venmo my tithe.

The heat index had my vision tunneling. When Armand Hammer stepped on stage, sounds were moving in reverse, and the Class-A dynamite duo took us back (way back) in time, when ELUCID was in “fifth grade in [his] dad jeans” and he “played Game Boy in the backseat.” woods, with his first words of the afternoon, said he “rather be codependent than co-defendants.” This must’ve been “Landlines,” the lead-off from the new album, seeing as how they shouted-out JPEGMAFIA, ELUCID rapped “leave a message after the beep,” and a dial tone toned between verses. It was off the hook, as they say.

They seemed to be following the official We Buy Diabetic Test Strips tracklist, because next up was “Woke Up and Asked Siri How I’m Gonna Die” (a song with a title so long that it must’ve come from the magnum mind of ELUCID). She replied, she replied, she replied�� they repeated, but I didn’t quite catch what that chatbotbitch said. woods refashioned a line from “Remorseless” with “Life’s a blip, I’m swimming under the radar.” Life’s a blip and then you die, that’s why we puff lye. Further deepening the uncanny valley, their third offering to the musty masses included “fake trees in the Apple Store.” I’m sensing something about the excesses of tech after a cursory listen to these WBDTS tracks, the detritus and pollution it produces. To quote my damn self, something in line with “...a cell tower with evergreen branches: / …a drone with seagull feathers.” ELUCID revived “a double portion of protection for [him] and [his] niggas,” explaining he’s “trying to only say what’s necessary.” By any means, sir.

Cavalier was welcomed back to the stage for “I Keep A Mirror in My Pocket,” another new joint with Preservation on production. We the audience felt, collectively, like we were in the belly of the beast—those shipping container walls (a real Season 2 of The Wire sensation)—as Cav chorused and signified about the Big Bad Wolf. A cautionary tale, indeed. I can see clearly how Cavalier fits within the Backwoodz cadre.

The content of the next number left no question of its title. “Niggardly (Blocked Call),” if I was asked to predict, will be the cynosure of the new album. (Yeah, you heard me right dog, I said cynosure.) Produced by August Fanon (who was in the place to be—a rare appearance from an elusive mastermind who would humbly demur if you called him such, I’m supposing), the song has an R0 = 15 infectious hook: “Admittedly niggardly, I won’t even give these niggas bad energy.” woods, what with his penchant for scales and measurements, boils everything “down to the last red cent.” How does he do it? Well, MY HEART PUMP KETAMINE, he yells. We find woods in one of his ruthless, no Vaseline moods: “I eat knowing I’m starving my enemies.” Revenge is like the sweetest joy next to spending time with your kids, and woods picked up where his verse from “As the Crow Flies” left off. He closed his eyes and rapped to the rafters and the sky:

I write when my baby’s asleep, I sit in the room, in the dark, I listen to him breathe, I walk him to school and then the park, Hold they little hands while we cross the street, I think about my brother who is long gone, And this is all he ever dreamed.

ELUCID and woods repeated admittedly niggardly back-and-forth at the end, delighted with the wordplay.

They kept riding the August Fanon beatwork like Thomas Sankara in the Renault 5 as the killer chords from “Smile Lines” crept in. The crowd response was screw-faced sneers and shouted lyrics. One youngblood knew the song front to back, beginning to end—ELUCID acknowledged him from the stage: “Peace to the homie out there—he knew every word, man.” I watched the dude beam from the compliment. Even after writing profusely—profusely (fuck Caltrops and his non-existent editor, here comes the predator…)—about woods and ELUCID, I still can’t memorize their lines. Chalk it up to some neurological incapacity that arrived in my 30s. I envy those who commit songs like “Smile Lines” and “Smith + Cross” to memory. My not-so-supple gray matter just can’t cut it anymore.

My expectations for We Buy Diabetic Test Strips were upended by the tracks they debuted. I’d speculated an abrasive noise event; a Sheet Metal Music for the new millennium we’ll never reach; a kind of Schoolly D “P.S.K.” FML swagger. There’s certainly elements of that, just not as much as I was anticipating. (And who knows what noise the as-yet-unheard tracks might bring.) I assumed the shared space with Soul Glo over the past several years, the screechings zapped through the receiver on the toll-free number, and their recent appearance on Shapednoise’s Absurd Matter would be an indication of the Shape of Rap to Come. Speaking of which, woods sludged through his verse from “Family” before DJ Haram’s scrapyard percussion ushered in “Trauma Mic.”

Haram was at the helm for the entirety of Armand Hammer’s set, and she reveled and felt every ounce of her own beat. The buzzsaw sounds were like Baraka’s description of Don Ayler’s trumpet: “long blasts…in profound black technicolor.” ELUCID’s traumatized mic draped over his shoulder for the opening anvil strikes. He needed his hands free to clap in rhythm. The gesture was reminiscent, again, of Baraka’s analysis of the saxophone held by Albert Ayler (the elder Ayler), “a howling spirit summoner tied around the ‘mad’ Black man’s neck.”

The “Trauma Mic” video had me thinking on thematics of refuse and rubbish—you best protect your dreck. I thought back to the garbology Aesop sifted through, where I saw Bakunin’s barricades in the city streets and revisited the actions of The Motherfuckers in the late ’60s—they stood in solidarity with striking sanitation workers and dumped garbage at the doorstep of Lincoln Center. Armand Hammer—outfitted as scrappers, pitching barrels and coiling skeins of copper wire—are of the same spirit. They propose a cultural exchange of garbage for garbage.

woods bodied “No Hard Feelings” and was joined by damn-near the entire crowd. Had it sounding like a tenant revolt as we all screamed, LIKE THEY STEALING! The Aethiopes track equals, if not outright overtakes, “Asylum” and “Remorseless” as most affecting in the past year’s blitz of performances.

ELUCID stood on the precipice, at the edge of the stage, as he rapped through “Barbarians.” He went swimming into the crowd with his free arm, astro-spiritually. The refrain of “Who the fuck are you?” evolved from the accusatory tone heard on Rome to an existential “Who the fuck am I?” ELUCID and woods bandied the question between them like two college kids in the dorms at 2AM, faded as fidduck. The “intelligent fist” of woods and the “mysticism” of ELUCID (to use an equation Baraka applied to Milford Graves and Sonny Murray) working together to produce a manic mix. They kept the marriage going through “Mangosteen” before turning to the heliocentric worlds they invented in collaboration with the Alchemist on Haram. “Black Sunlight” and “Falling Out the Sky” had me thinking of Baraka (again!): “It only takes two to start a group. If the two are maturely strong, and have a oneness, then the others will feel it and touch their own sound, voice, or whatever.”

ELUCID’s last solo number was “Spellling,” and by then he was spent but still perseverating in the dopest way possible. “This is a physical experience,” ELUCID said as the song began, asking the soundman to turn the volume up higher. IIIIIIIIIIIIIIIIIIIIIII been spelling, he spoketh [an ever ever elongated I and a shot-to-the-dome of “been”]. The I Told Bessie opener became what Baraka calls “an antiphonal rhythmic chant-poem-moan.” ELUCID’s voice was ragged by this point, a metallic scrape as he shouted about being “your momma’s favorite, since about ’88, ’89.” The down in “just got to heaven and I can’t sit down” was made malleable in how he twisted it around in his mouth. Split tongue heavy lifting.

He had nothing left when the alarming squeal whistle warp of “Stonefruit” started to play. But the audience assisted, screaming with him I REALLY CAME IN ON A CYCLONE as his voice gave out. woods jumped in early when it was his turn, which proved a moment of levity. To err is human, and woods—despite the adoration he’s been receiving—is endearingly human. That humanity is probably why so many of Armand Hammer’s fans have become zealous collectors, showing up at the venue with cardboard boxes full of vinyl, willing to wait patiently for woods and ELUCID to write their names in metallic Sharpies on these their prized possessions. “First Armand Hammer show in the states in a while,” woods said at one point. “Small flex,” ELUCID noted, chuckling. But they brought it home on Saturday. It was “As the Crow Flies” made manifest. woods brought all the Backwoodz family on stage at the conclusion of their set. The family atmosphere afforded by the 3PM start time was embellished by the sight of children on shoulders. It had the feel of a triumphant affair. It’s winning, it’s winning, it’s winning…

Peace to the conversations that were had with Alex Richter, Willie Green, Max Heath, and Sharif.

Photos credit: Rory Simms

AH setlist:

1. Landlines 2. Woke Up and Asked Siri How I’m Gonna Die 3. [???] 4. I Keep A Mirror In My Pocket 5. Niggardly (Blocked Call) 6. Smile Lines 7. Family 8. Trauma Mic 9. No Hard Feelings 10. [???] 11. Barbarians 12. Mangosteen 13. Black Sunlight 14. Falling Out the Sky 15. Spellling 16. Stonefruit

#armand hammer #backwoodz studioz #public records #fatboi sharif #dj haram #cavalier #underground hip hop #brooklyn

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