currently listening to Room 25 by Noname. another great album that epitomizes the jazz/hip hop duality of hypergalactic music. i realize i’ve never quite frankly written about what exactly hypergalactic music is. there are a few characteristics of hypergalactic music that i’d like to talk about over time. we can begin with this charateristic of what is called “duality comprehension”. we can say of hypergalactic music that it exists on the plane of duality comprehension.
let us remember that sun ra made a movement from the interplanetary jazz of space music to intergalactic jazz. that is to say, from executed bridge words communicating between space and earth to a sound of the “outside realm of the future turning points of the impossible”. this movement can be best understood as a transversing from the plane of capital to the plane of composition, first by a deterritorialization of planetary refrains on the face of the earth, reterritorializing onto the void of the cosmos. i believe that ra made a second movement from the void of the cosmos onto the plane of duality comprehension. i find it hard to believe that the realm of the alter-destiny resides in the void of the cosmos, instead it should be argued that the outer unending darkness of the Universe is the material onto which destiny deterritorializes itself and reterritorializes as the alter-destiny, changing the material of the outer darkness into a propulsion towards new unheard refrains of atemporal galaxies.
to speak of a hypergalactic jazz, as opposed to the intergalactic jazz of sun ra, is that the index of hypergalactic jazz is composed solely of executed bridge words through “determination of the duality meaning”. for ra, “Jazz is based upon the spontaneous improvisation principle. Pure jazz is that which is without preconceived notion, or it is just being, and that’s really my definition of jazz.” what distinguishes intergalacticity and hypergalacticity is that intergalacticity functions by pure jazz alone whereas hypergalacticity employs this jazz/hip hop duality.
hip hop can only be understood as a deterritorializing force. sampling, interpolation, scat, ad libs, these are the tools through which the hip hop musician selects materials to deterritorialize sound onto. selection is only a tool to the hip hop musician, as selection necessitates a prior refrain (a preconcieved notion). ra underestimates the power of the prior refrain, writing it off while simultaneously employing it without notice. ra is not a pure jazz musician, if he were his productive capacity would never have reached the impossible. instead, ra, like Noname, is a hypergalactic jazz musician, selecting and recomposing prior refrains, while constantly producing difference with them. here would be a good place to mention the eternal return of Nietzsche, or the difference and repetition of deleuze. here i have come to understand hip hop as repeptition and pure jazz as difference. inseperable as they are, many musicians have attempted to bifurcate them and produce solely on the basis of one or the other. ra’s attempt failed, but for the better.