SpudShow 384 - ApSci

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Group - ApSci

Track 1 - Big Adventures
Track 2 - Crazy, Crazy, Insane
Track 3 - Under Control

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ApSci
"Big Adventures" (mp3)
from "Best Crisis Ever"
(Quannum Projects)

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More On This Album

ApSci
"Crazy Crazy Insane" (mp3)
from "Best Crisis Ever"
(Quannum Projects)

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ApSci
"Under Control" (mp3)
from "Best Crisis Ever"
(Quannum Projects)

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Artist Bio

Best Crisis Ever, the new album from trans-continental ApSci (pronounced APP-sigh), was begun in a Brooklyn apartment overlooking a coffee factory in 2006, and finished in a Sydney apartment by the beach in 2008. While 2005’s Thanks for Asking was a collabo-rich hip-hop-electro diary with guests spanning from indie-rap pinch hitters Mr. Lif and Pigeon John to the bandleaders of TV On The Radio and Antibalas, the new record has been executed almost entirely by the duo, Australian-Filipina Dana Diaz-Tutaan and the Irish-Italian, Bronx-born Raphael LaMotta. It’s a louder, catchier and more expansive take on ApSci’s unique combination of electro, hip-hop and quirky pop, relying heavier on songwriting and a combination of vintage drum machine sounds, synths and guitars. It’s equal parts New York bravado and Australian charm, reflecting the respective hometowns of each, and how the duo, despite the nearly opposite lifestyle and pace of the cities, have managed to comfortably straddle both for nearly a decade.

A little history: the Iate 90s, summertime in New York. Nuyorican Poet’s Cafe, Rocksteady Reunion, Baby Jupiter were the places that mattered to a devoted scene. Solesides, Company Flow, Mike Ladd and Antipop Consortium were underground brainiac heroes. Open mics and street cyphers were a vibrant and common occurrence in every borough, and people came from all over the world to experience the city’s late-era hip-hop renaissance.

It was in this context that Dana, who was then visiting New York, met Raphael. Although their fi rst encounter wasn’t exactly congenial (“I was in a weird mood,” Ra explains. “He was rude,” Dana counters), they were a part of a tight circle of performers and often found themselves on the same bill, or in the same crowd, or freestyling on the same corners. Soon studio time was booked, pager numbers were exchanged, and before long they were collaborators, writing and recording their own unique material.

 

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