I sleep like shit most nights – been this way my whole life. Special shout out goes out to all the narcoleptics, graveyard shift zombies, nightcrawlers and insomniacs out there. What I lose in sleep I make up for in beats.
Piano sample is from “Chez le Photographe du Motel” off of Miles Davis’s soundtrack to the French film ‘Ascenseur Pour L’Échafaud‘, along with samples from “Monkey Conquers the Demon.” Continue reading
In high school and freshman year at Boston University I was big into industrial music – Ministry, Front 242, Wax Trax, Skinny Puppy and the like. I probably spent haf of my pocket money freshman year buying industrial-edged CDs at Nuggets and Tower Records – where I picked up a compilation of proto-industrial weirdness called Tyranny of the Beat put out by Mute records (founded by Daniel Miller of The Normal – best known for ‘Warm Leatherette’) and featuring tracks by groups like Throbbing Gristle, Can and Wire that were mostly recorded in the 70s and early 80s.
Can’s “Vitamin C” and Miguel De Deus’s “Black Soul Brothers” for the beat; “Cacha Mechanica” (artist unknown) for the guitar sample and a piano loop from Krysztof Komeda’s soundtrack to Roman Polanski’s “Knife in the Water.”
The tight freak-out grooves on Krautrock pioneers Can’s Ege Bamyasi make it my favorite album in their wide-ranging discography. I really wanted to emulate that free-form sound in my band in grad school – but while the “free” part was do-able for us, the “form” didn’t work out so well due to my not-so-polished drum skills. Thank god for automatic beat-matching. Continue reading
Filed under Brazilian, DJs and Producers, Funk, Hip Hop, Instrumental, Loops, Mashups, Reactable, Remixes, Rock, Soundtracks
This one is made of samples from Italian drum genius Tullio de Piscopo‘s “Dodiciottavi,” piano from United Future Organization member Toshiu Matsuura‘s version of Abdullah Ibrahim’s “Did You Hear That Sound” and a dope bassline from Kryzstof Komeda’s “Astigmatic,” with sonic flourishes from Mount Kimble‘s “Before I Move Off” and Bruce Lee’s “Enter the Dragon.”
Naples-born Tullio de Piscopo has drummed for the likes of Gerry Mulligan, Astor Piazzolla and Manu Chao and he’s a beast on the skins – one of the all-time greats. One of his best known tracks is the monstrous “Medium Rock,” which DJ Shadow sampled on ‘Guns Blazing (Drums of Death Pt 1),’ his collaboration with Kool G Rap – hopefully you can hear its influence on my sound. Continue reading
Damn – they stole my idea – or rather they beat me to the punch. I love the piece “Proven Lands” on Radiohead guitarist Johnny Greenwood’s soundtrack to There Will be Blood – if there were ever a beat to be flipped from music made for a string ensemble, this is it, and I’ve been struggling to find a way to remix it/mash it up. Now, it seems Radiohead and MF Doom (or DOOM, as he now prefers to be called) have done just that with “Retarded Fren“: Continue reading
Part three of my Tenant Remixes series – this one is based on loops from Philippe Sarde’s ‘Apparirions’ off the soundtrack to Roman Polanski’s classic psychological thriller. Continue reading
Critics hated The Tenant when it came out in 1976, saying it bordered on “self parody” and a dissipation of “whatever talent [Roman Polanski] once had” – all the more reason to love it.
Macabre, absurd and indeed supremely self-indulgent, the film’s influence on psychological horror films is undeniable, not least of which for its amazing soundtrack and Roman Polanski’s memorable lines as his character suffers a complete mental breakdown (in drag, no less). Continue reading
Roman Polanski made this film, based on a novel by Roland Topor, in 1976 – the last in his acclaimed “Apartment Trilogy” (which includes Repulsion and Rosemary’s Baby). Unlike many of Polanski’s films, which were scored by Polish jazz legend Krzystof Komeda, The Tenant was scored by French film composer Philippe Sarde.
Sarde’s score features a “glass harmonica” that Mozart himself had played as an aural reference to the protagonist’s (played by Polanksi himself) obsession with glass. I remixed Sarde’s main theme and added some aural embellishments of my own. Continue reading
My take on the Biggie classic mashed up with a sax loop sampled from Komeda’s soundtrack to Roman Polanski’s ‘Knife in the Water.’ Continue reading