The kickdrums meet your ghost zip

Breakcore: Identity and Interaction on Peer-to-peer | Andrew Whelan -

the kickdrums meet your ghost zip

“its no proper edicate to use amens in breakcore”. . This analysis is so structured as to achieve several tasks at once, through treating individual data. I first met Shelton on a foggy summer night at his latest club, out in the .. Zip files , MySpace and the beat tape as a release format I want Metro Area to do a live PA at my deathbed and finish me off with a solid kickdrum to the heart. .. dub would strip it back, often leaving only ghost traces of the vocals. Ghost in the backseat, Wendy Griffiths, Changing Modes, In Flight. God Is, Ken Spooky Jam, Marcus Padgett & Zip Tang, Zip Tang, Feed Our Heads. Sunset Cliffs Kickdrum, David John Wellnitz/Michael Knight, Handful of Luvin, Life In Between. Kupuna . Meet Me, Rachel Wagner, Rachel Wagner, In Side Out Side In.

I used to rap in parks, I used to rap in all boroughs, I used to travel and battle people. I was one of the youngest guys, going up against guys who were like six or seven years older than me. He had a baby face. One day I happened to be at an event in [the East Village venue] Negril, and it was everybody in there. Madonna was in there.

He was an old guy, bigger guy than me. But everybody was flocking around this guy. He was like the Eddie Murphy of the art world. What did you say to him? Do you know who that is? We on our own dicks, excuse my French. He gave me his number; I threw it in my pants pocket and went home.

I started making my own percussion instruments, kind of vibraphone-type things, but more homemade, with the electrical conduit pipes and aluminum bars. The Lower East Side was really happening back then.

the kickdrums meet your ghost zip

But he asked me to play on this record he was doing, and I went for it without hesitation. It was actually a paid session; he paid me for the session. It was a basement studio — I think it was on 34th Street — in Midtown somewhere. But we were there for about eight to ten hours. I went down there, and it was amazing.

Eszter Balint — she was the girl in the film by Jim Jarmusch, Stranger Than Paradise — came a little later to the session and played the violin.

I played a rack with cowbells, a go-go bell, and woodblocks that were all on a percussion rack, and timbales. Ramm came through with a trench coat and dark black shades on, looking like Inspector Gadget… Jean introduced us, and he gave us some papers to read.

It was some corny shit. We crushed up his paper with the words he had written down and we threw it back at him, face first. We just started flowing. Me and Ramm was going back and forth and having fun with it.

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It just felt so [right], like I was in space. It was like I was hydroplaning in space. It was two microphones set up in the same room. And when he went to go pick up the mic, we all started laughing, and he went back over there and sat down and started rocking [in his chair] again.

No, [that] never [happened]. Jean trying to come in there? He stayed where he was at and let us do our thing. Basquiat had his hand on it; he was very present. In some account that I read, it made it sound like he just took a back seat, which is absolutely not true. Jean-Michel made the beat.

Listen to the beat: He listened to music all the time. If you went over to the studio, there was always a record playing.

So I think he was… interested. The woodblock sounded absolutely synthetic. Cory Robbins, founder, Profile Records: He was able to get a cassette or something.

the kickdrums meet your ghost zip

I thought it was cool as shit. It was druggy, it was so out there. Nobody made records like that. No record producer would make a record like that. It was so free-form. We put the record out. It went to Profile, and the cover changed at that point. That [painting] would probably be worth millions now. We licensed it to Island [in the U. I think, by then, he had moved to Great Jones Street. So he did, and we did. Aww, man, it was so much money [around]. Jean-Michel gave me checks after the record came out.

From the post-apocalyptic eeriness of "Pressure Cooker" a teaser track premiered on Spin. Back infirst album Pikelet was made by Evelyn with an accordion, percussion and a loop pedal. It came out to rave reviews, Pitchfork write-ups and community radio high rotation. Evelyn and Shags met as backing musicians for Ariel Pink on his first Australian tour inand soon the Pikelet band was born. When Stem emerged inthe expansion of vision was immediately apparent.

The live band brought a cosmic edge that infiltrated Evelyn's inquisitive style with kaleidoscopic results. Glowing reviews, Triple J rotation, community radio feature albums, and a place on the Australian Music Prize shortlist followed. Evelyn also drummed for Japanese noise legends the Boredoms at their Melbourne International Arts Festival Show, and toured nationally supporting Shellac in solo Pikelet mode in late Calluses is a remarkable statement of artistic intent and new purpose.

Featuring both Karlsson and the lovely Mai Nestor on vocals, Facit is quintessential melancholic Swedish wave at its finest. Exquisitely produced, the EP is a minimal synth wave gem, drawing some inspiration from French Chanson as well. The total run of this release is limited to copies. A few basic facts about the life of this dedicated techno activist will help you understand the absorbing atmosphere of this exceptional record even better.

Love Can Drive Your Mind Wild by The Kickdrums lyrics

From this very minute on, things just gelled. His first vinyl record was hand-pressed and hand-wrapped in an L. This immediate enthusiasm gave him enough power and endurance to go all the way and follow his dream uncompromisingly.

On the one hand, Sleep Complex pays respect to the root-element of techno, the raw, dirty and hypnotic vibe that goes back to early Detroit techno; on the other hand, it almost has some kind of a rock attitude, especially when it comes to the beats, making it stylistically independent and impossible to pigeon-hole. It also makes very little sense to talk separately about individual tracks on the album, as each single piece of music is a sophisticated, complex sonic landscape, which is interconnected with the others and ultimately forms part of a bigger entity.

As it was meant to be a bass-heavy record, and he thought that no one could treat a bass like Chris Liebing, his dear Frankfurt-based friend eventually had the great pleasure to do the final mixes, giving the tracks a beautifully-shaped bass sound and incredible presence and clarity. The album is an experimentation with analog modular synthesizers and a variety of digital tools.

By working within the limitations of an individual instrument, it inspired each single song to have its own unique feeling or sound. Needless to say, while being very physical, Partch's music isn't something you can easily tap your foot to.

What's most important is that it works. Partch was not one to introduce musical complexity merely for its own sake, another factor that separated him from his contemporaries. Not only are the rhythms complex, but they are performed at a frantic pace unequaled by any music I've hard save perhaps the inhumanly fast player piano pieces of Conlon Nancarrow!

This is characteristic of most of Partch's works, though I think 'Daphne' is one of the most successful and exhilarating. Last is 'Castor and Pollux' in a more modern performance than From the Music of Harry Partch, with greater vigor and fidelity.

the kickdrums meet your ghost zip

The World of Harry Partch is an excellent introduction to his works that comes highly recommended. There are three new cuts in total from the pair, each exploring a slightly different yet always knackered house groove. Soulful key stylings bring a human, jazzy touch to proceedings, but all three tracks are rough, with frayed textures -- nothing is crisp or clean.

Invited to investigate the archives to find inspiration to make some new music, Warm Digits found a selection of photographs documenting the transitions between the crumbling, decommissioned British Rail stations of Tyneside and the new, futuristic Metro stations. The songs on Interchange, and the accompanying films which use the images as source material, take and hold onto some of the spirits conjured by these pictures: Live, Warm Digits are a motorik epiphany of drums, guitar and pulsing hardware, complete with mesmeric kosmische visuals; all that on-stage multi-tasking making their live sets a dynamic Kraut-disco experience.

The more analog sound and density of the tracks create a deeper and darker sound, proving Uner is completely on top of the direction house music is going these days. Bells is an homage to the pitch-black dancefloors of the night, with all his hypnotism and industrial hues in place. But as midnight begins to dip into eternity, closer "Subspace Two" offers up a lasting sunny reprieve. It's the first installment in a brand-new compilation series on Eskimo. They have selected 13 brand-new songs -- all produced exclusively for this concept -- with exquisite care.

This labor of love is the fresh start of a new decade of Eskimo Recordings, and at the same time reassuring once again what the label stands for: Their work transports the listener into a dream-state, yet renders them fully conscious.

Satin Jackets was created in as a studio project from Germany. Brynjolfur hails from the Faroe Islands but now resides in Copenhagen, finding inspiration in warm, deep acid and old school disco sounds as well as spacey, atmospheric moods. Filtered through Bergen's urban expressions, Made In Sane's sound bounces back into the world in a new form. This is the sound for mind and body. Mastercris is quite fond of vocals and for this track he invited Novika to collaborate, the undisputed first lady of the Polish electronic club scene.

Ichisan is a Slovenian photographer by day, and extraterrestrial guru by night. His disco-funk formula merely serves as a guide to the mad genius as he converts blueprints to an interplanetary exploration into an audio map of the universe.

Martin changed his musical direction and turned his path to the roots of the music he had always loved and admired: Bursting from the digital underground is Next is Majestique -- a production team from the Netherlands consisting of Mike Luck and Thomas Helsloot and their shared passion for strange chords, running arpeggiators and dusty drum computers.

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Boom C Trap and Freshmint founded The Living Islands inspired by jungle clatter and the sound of waves hitting the beach. Golden Fleece extends his talents to the studio with his productions and collaborations with fellow synth-tinkler Pete Herbert. Copycat is the alter ego of Swedish producer Ivan Matanovic, who specializes in all kinds of disco, always with his typical blend of melancholy and catchy melodies -- the perfect soundtrack for night driving.

After several singles on the label, Markus now announces his debut full length, DNA. Rather prolific with his output of 12''s and remixes, Suckut's previous releases on Figure stood out, really developing his command of intensely-focused and powerful kick drums. A true follower and advocate of the more refined side of club techno, he has recently set up his own SCKT label, and travels more and more as a DJ. DNA now goes even further in making a statement on his sound.

There's something of the classic German minimal techno lifeblood flowing through this album, and over 11 tracks we are guided through very precise, tense and effective exercises in basement techno minimalism.

From the moody synths of "Path," a fitting intro to the album, we are then dropped head-first into "Dissociation," where only a handful of elements resting on a weighty kick drum build a certain sci-fi tension. This tension is maintained over the course of the whole album. Heading into more trippy zones, "Dust" and the acidic jack of "Rigid" both demonstrate Suckut's skills at telling a story with a very strict economy of elements. As paranoid tension establishes itself as a major theme further still, "Shatter" unfolds in a dreamy, if not rather apocalyptic dub track of the highest order.

The more aggressive thump of "Vibrant," with its urgent synth voices and dramatic arrangement are pure Suckut -- taught, carefully executed and intoxicating on the dancefloor.

We are then guided into a more heady, psychedelic mood with "Remains," before the true dub of "Places" eases us down, working glorious space between the groove. Finally the last stand arrives in the form of "Mirage," where an undulating acid line and freakishly-timed percussion shake and rattle around a wonderfully submerged throb.

Markus Suckut shows us his true colors and talents with DNA - a very focused, mature and honest portrayal of his take on techno for and beyond. What begins as a casual reduced jam then evolves into an ensnaring, tense workout as "Momentum" gathers exactly that -- elevating and maintaining the tension. As the official follow up to the group's self titled long player, this hefty platter features the Mi3 signature instrumental sound.

Utilizing some heady sounding vintage synthesizers, it has the old school flavor we've all come to crave from a G. After a lot of great releases and remixes, some of which topped the charts, Gem Records believes that this is his best EP so far.

If you like warm techno and tech house that combines melody with powerful grooves, this one is for you. Includes a remix by Kassey Voorn. Includes the original full length album, three 'Resurrection' remixes, liner notes by Brian Coleman, with Common and No I. While the album was originally neglected by the mainstream, it has since received a great deal of critical acclaim and is now on The Source's Best Rap Albums.

In comparison to his debut album, Common's musical style evolved lyrically with the expression of his inner life, as opposed to just describing street life.

Haul of Records

With its jazz and hip hop flavors, Resurrection furthered the growth of both genres. Overall, the album is commonly perceived as an underrated rap classic and now this legendary album is available in a much anticipated, 2LP gatefold jacket edition.

the kickdrums meet your ghost zip

Similar to Ghostface's debut album Ironman, Supreme Clientele showcases his signature up-tempo, stream-of-consciousness rhyme style. Upon its release, Supreme Clientele received strong reviews from most music critics, and was the most acclaimed of all of the second generation solo Wu-Tang albums.

It debuted at number seven on the Billboard chart, while sellingcopies in its first week. Available from Get On Down in conjunction with Sony Special Markets Group, this special edition is packaged in a gatefold jacket and includes a double sided poster. But they were so much more. They could also rock and roll the house out and could meld disco with blue eyed soul.

The EP opens with "Opel Tantra," a delectable example of a living, breathing techno orchestra in full effect. What's more, this vinyl edition will see limited color 10"s pressed up for the real collectors. Tomoki's trademark fusion of deep, tech, electro, minimal and soulful influences has won him many admirers while Tuccillo has excelled with his classic house releases, so this is a fine pairing.

Twelve minutes long, trenchant and forbidding, the dub itself is a kind of deep Fort-Da gambit which scoops your brain out for a quick sluice, before replacing it slightly skewed.

This single reveals the essence of the third record, which covers all eras of electronic music, and also invokes aspects of the guitar-driven second album. This single will be accompanied by a beautiful music video, directed and produced by Thomas Jessen.

Astatke has collaborated with numerous jazz legends such as Duke Ellington, and in was featured on the soundtrack for Jim Jarmusch's film Broken Flowers. Conductor, arranger, master of the vibraphone and conga drums, Astatke now plays with his England-based group Step Ahead. Astatke's uniquely rhythmic and colorful music weaves a modern groove into age-old melodies, and blends western classical music with Latin and Afro funk rhythms into a heady musical brew.

KBOO broadcast the show live, and the songs on this record are from that performance. We do not know the titles, as they were not announced, and are not released on any of her other recordings.

Marisa Anderson arranged and recorded this solo guitar performance of three traditional songs on March 30, Called 'Canaan's Land,' you'll hear the incredible technical skill and emotionally fluid style Marisa brings to her art, which makes us proud to have her as the first KBOO Artist in Residence.

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Heyboer's stature in visual arts is well-known and internationally celebrated, but documentation of his audio work is scant and difficult to locate. Released with full approval from VOF Heyboer and overseen by Lotti Heyboer, Rules Of The Universe draws from over seven hours of surviving archival tapes, restoring the cream of the CDR editions and supplementing it with a selection of previously unheard tracks.

Rules Of The Universe offers a fresh reappraisal of a lesser-known - but no less important field of creativity from one of the 20th Century's most original artistic minds. Rules Of The Universe arrives in a full color high gloss gatefold sleeve, with an accompanying fold-out color poster, in an edition of copies. Released from the institution inRoky found his legend had grown while he'd been away -- not least because 'You're Gonna Miss Me' was included on 's Nuggets compilation.

He formed a band, the Aliens, and set about honing a hard rock sound that placed the psychedelic garage blues of the Elevators firmly in the last decade. Though it was produced at a time when Roky was struggling to cope with drugs and life on the outside, he hit form on his first post Elevators album-proper, 's The Evil One.

Produced over a period of two years by Stu Cook, from Creedence Clearwater Revival, it's a masterful collection of songs about zombies, demons, vampires and, yes, even the 'Creature with yhe Atom Brain.

At the time, Roky explained the album this way: It's the kind of music that makes you wish you were playing it or listening to it for the first time "way back when. A year after its release, Erickson would become convinced that a Martian had inhabited his body.

He would soon become obsessed with mail, and take to taping it, unopened, to his bedroom walls. Many of Erickson's demons were yet to show their faces. But the B-movie demons he exorcised on this record gave us one of hard rock's strangest, most inventive albums. It was at the edge of a cliff, however. The great ethnic diversity in the inner city was a brewing powder keg of civil unrest.

This, coupled with a disillusioned population struggling to make some sense of a questionable war in the rice paddies of Vietnam, set an uneasy and troubling tempo for the future. Still, there were pockets of communities in the Detroit area where things were good and economic life was vibrant. The Grosse Pointes were such communities. It was on the outskirts of this political and racially tense era, in the affluent suburbs just outside of the city of Detroit, that Index was formed.

The music of Index has been lauded by music heads for decades, and with good reason: Hidden amongst the echoing canyons of sound there's some snotty post-punk attitude wrapped up in that trippy velvet fuzz; a wonderful bleak sound, both droning and murky, the atonal side of late 's rock that would leave the most lasting impression on those who would eventually become punk, post-punk and indie rock artists like Joy Division or the Fall.

Very little is known about the person behind the mask, except some rumors that he hails from the Motor City. In contrast, "Crazy Says What" is almost ambient.

Jozif adds his trademark flavor to "Chick Flick" and turns it into a percussive weapon with a hint of disco. Jonny Cruz delivers a synth-heavy version of "Crazy Says What," a moody gem for the very early or late hours. Exact repro of this release. Dedicated to all the people who have travelled with, drunk with, fought with and screwed with us on the roads of England and Europe for five years.

Bram Bosteels' Kaboom Karavan project reappears out of the thick Belgian jungle to deliver what must be one of the strangest and most exotic records since Gultskra Artikler's uncategorizable Kasha iz Topora.