Away from the turntable and into the pop skips-and-jumps of the Hood Internet
The Hood Internet operates in a pop context. It isn't simply plundering black music for source material and reshaping it for white hipsters. Collected into the ongoing Hood Internet Mixtape series, these sounds represent how much of the audience, black and white, consumes music today. To the duo's credit, their approach is more innovative than the hordes of mixtape DJs that artlessly smack Lil Wayne "exclusives" together with little care for flow or context, or even the old-school jocks who scratch and blend like it was still the '90s. But these tracks also demonstrate how hip-hop has been reduced by much of its audience into a series of sugary sensations — again, the skipping stones analogy. It's music for partying, getting laid, and working out at the gym, not for intellectual exploration. You can't blame the Hood Internet's clever and innovative response for the current pop miasma, though.
"In recent months I've digested the new Freeway & Jake One album, Pill's 4180 mixtape and Freddie Gibbs' mixtapes as intensely as the CFCF and Caribou album," Reidell answers when asked if he takes hip-hop seriously. "That said, a lot of pop music — and a lot of hip-hop falls into that being that it's popular — is disposable. It's not because it's hip-hop, it's because a lot of pop music is disposable. The Hood Internet mixes a lot of that stuff. But while we might mix Gucci Mane one day, we'll mix a really thoughtful Anti-Pop Consortium track the next day.
"I think there's some value to it because it's introducing people to things they might not otherwise have heard," he continues. "It's time-stamped to a certain degree, and it's for partying. But there's value to that, too. People like to have a good time."
THE HOOD INTERNET
With Tobacco (of Black Moth Super Rainbow) and the New Slave
Sat/27, 10 p.m., $12
Bottom of the Hill
1233 17th St., SF
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