"Who you know worth $50 million, still rappin' on breakbeats?" he asks.
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There are choppy breakbeats, melodramatic spoken word interludes and hi-NRG violin samples.
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Subtle, evolving touches like bells and crunchy breakbeats add a sense of progression and movements.
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Synthetic sounds, breakbeats, the rhythm teased out that feral knowledge, ambrosia for the anorexic animal inside.
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DJs played breakbeats from soul, funk, rock, and Latin records while b-boys danced and MCs rhymed.
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As breakbeats barrel their way back into the popular consciousness of electronic music, they're adapting to many purposes.
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Although it's essentially a fast, hard techno track, it stands out for its genuinely ambitious filigree of time-modulated breakbeats.
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A flurry of breakbeats and 808 claps provide DJs and aux-cord wielders alike with party fuel for any situation.
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For example, I love heddy feedback, lo-fi breakbeats, 8-bit tones, fucked up vocal fx, and thicccc high hats.
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It was faster and sounded like it was made on a cheap piano and there were old school breakbeats on it.
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But I heard the DJ, I think he threw on "Apache," one of them fuckin' breakbeats, and the guys started rhyming.
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There's a section where he mutates Kendrick's voice into a weird alien yawn while playing new agey keyboards and junglist breakbeats.
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Obvious, jungle is so fast with the breakbeats at 170, 172, 180 that it doesn't quite allow you as much space.
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Paradox's main room throbbed with golden era techno, while its beloved backroom bounced with a classic selection of breakbeats and house.
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"RCVR" reminds me of a Technical Itch track pitched down to 140 BPM with cavernous bass, cascading breakbeats and alien synth lines.
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A minor-key jog with a melody full of chromatic tensions, it drew much of its heat from Mr. Guiliana's whipsaw breakbeats.
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And the Birth of Hip-Hop Doodle allowed visitors to mix samples from classic breakbeats, which he called the Doodles' high-water mark.
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Big beat also owes a lot to the likes of Coldcut and other early British turntabilism heroes, with breakbeats and sampling at its core.
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Europeans, let's stick to what we're good at—league football, breakbeats and subtitled films about depression—and leave the diva vocals to the big boys.
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But when the furious breakbeats of jungle and hardcore appeared in Cutler's earlier music, they were typically tempered by the synth melodies that have become his signature.
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Because I love the drums, I really like love breakbeats and I love old Funk drummers and stuff and it's just, I can't play it at all.
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Over the last few years, crafting sounds that sound like slivered up dial tones, breakbeats transcribed for paper shredders, and harsh noise sent through a laboratory centrifuge.
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Asakura's services incorporate electronic music styles ranging from sound art to IDM and breakbeats, and the visuals are not unlike something you'd see at a warehouse rave.
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The session granted viewers a grab bag of dulcet breakbeats and mesmerizing samples from the artist born James Hinton, who blew us away earlier this year with his second album.
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Its slippery energy and skittering rhythms almost even approach the chaos of breakbeats or IDM, but it recedes into more peaceful realms as chiming bells enter the piece about halfway through.
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However, it's the title track that makes the clearest statement, as Isabel's cathartic vocals swoop through a Clams Casino-ish fog while drum 'n' bass breakbeats sputter to life at seemingly random intervals.
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These days, he often works with Cuban jazz artists and vocalists like the lovely Danay Suarez, lending his tracks a lounge-friendly suaveness, though he can also dabble in hip-hop samples and breakbeats.
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Breakbeats as well as woozily pitch-bent covers of Soundgarden's "Black Hole Sun" and Divinyls "I Touch Myself" made their way into the mix, too, punching through the cacophony and then erupting into it again.
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The more playful breakbeats of "Cornish Acid" follow, and "Peek 824545201" zips and thwips, stringing together Autechre-like bubbles of alien percussion beneath another calming melody line on some kind of low-end, ghostly bass organ.
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There's taut piano-funk grooves with titles like "Ice Station Zebra," drippy synth experiments, cut-up breakbeats that come far closer to drum and bass than you'd ever expect a garage rock revivalist to ever get.
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Both on that quasi-title track and elsewhere he experiments fractalized visions of familiar forms—experimenting tesselating dub on "1st 44," muzak breakbeats on "pthex"—resulting in the purest pleasures of an RDJ release in recent memory.
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Drawing on his roots in the hip-hop and electronic underground, he was at the forefront of a heady scene in the 90s that hybridized ambient music and breakbeats (he and his peers half-jokingly called it illbient).
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A dance review on Tuesday about "Global Beat of the Bronx: From Bambara to Breakbeats," at Hearst Plaza in Lincoln Center, misidentified the African country whose tradition of stilt-walking was displayed by the Bambara Drum and Dance Ensemble.
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THE ARTS A dance review on Tuesday about "Global Beat of the Bronx: From Bambara to Breakbeats," at Hearst Plaza in Lincoln Center, misidentified the African country whose tradition of stilt-walking was displayed by the Bambara Drum and Dance Ensemble.
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"Primal Eyes" alone manages to fit nu-metal riffs and an operatic piano lead into its non-stop barrage of breakbeats and wraithlike vocals, coming out with something that wouldn't sound out of place on an album by warehouse rave overlord Machine Girl.
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One is that he kept vocals and song structure in his music at a time when those things were disappearing from the rave scene: jungle was becoming about knotty breakbeats instead of euphoric pianos, and techno was going from ravey stabs to winding beatscapes.
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While the release's title track opens with a swirling mix of 909 loops and weighty bass, "Elixir" on the flipside offers a more melodic experience; relying on a smooth patch of breakbeats, faint vocal chirping, and calming bells that you can't help but sway along to.
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The main beat is either sampled from or closely modeled after one of hip-hop's most legendary breakbeats: Melvin Bliss's "Synthetic Substitution," a once-obscure 22007 soul B-side that has since become a rap landmark, having been sampled more than 22013 times since the 1980s.
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This year's edition, "Global Beat of the Bronx: From Bambara to Breakbeats," brought together four Bronx-based troupes to show the wealth of cultural traditions flowing to, and from, that northernmost borough: Bombazo Dance Company, Chief Joseph Chatoyer Dance Company, Bambara Drum and Dance Ensemble and Full Circle Souljahs.
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Wynwood offers The Electric Pickle, where the dimly lit, bare-bones setting matches the mood of D.J.s who favor stripped-down house music and head-snapping breakbeats, as well as Gramps, a similarly no-frills bar where post-punk bands often set up to perform live in the open-air backyard.
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The rickety DIY art space feels just as vintage: The hardwood buckles and sags precariously in time to the beats as Clipping producers William Hutson and Jonathan Snipes conjure an ear-splitting mix of Gabber kick drums, frantic footwork rhythms, Drum n Bass breakbeats, and industrial samples of clanking metal and mechanical drills.
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Listening to In Colour in 212019, its origins as a lament on gentrification feel somewhat ironic: This album was pretty much ubiquitous in the second half of this decade, its skippy breakbeats and lovelorn-on-the-dancefloor melancholia soundtracking cafes, chic retail spaces, WeWorks, Apple ads, and pretty much anywhere else you would expect city-dwelling creative professionals to be lurking.
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" - and "have balance in life". Of the instrumentation, Furtado said: "I get to see a lot of DJ-oriented performance stuff, and I'm into the heaviness of breakbeats, how raw and powerful they are. Everything lately has become so synthesized, but just the standard sound of breakbeats is inspiring.
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Dapayk describes his own tone as 'frickle'. Sound wise he experiments merging separate musical art forms from Minimal, Electronica and Breakbeats into one.
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The difference between electro drumbeats and breakbeats (or breaks) is that electro tends to be more mechanical, while breakbeats tend to have more of a human-like feel, like that of a live drummer. The definition however is somewhat ambiguous in nature due to the various uses of the term.Electro-Funk : What Did It All Mean?. Electrofunkroots.co.uk. Retrieved on 2011-07-18.
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Celebrated pioneers of the genre such as Fatboy Slim tend to feature heavily compressed loud breakbeats in his songs, which are used to define the music as much as any melodic hooks and sampled sounds. Based on the primary use of loud, heavy breakbeats and basslines, big beat shares attributes with jungle and drum and bass, but has a significantly slower tempo.
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Her soundtrack for Bomberman Hero features drum and bass and acid techno styles, heavily incorporating fast breakbeats and sub-bass lines from the former genre.
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Funk samples and breakbeats have been used extensively in hip hop and electronic dance music. It is also the main influence of Washington go-go, a funk sub-genre.
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Breakbeat hardcore (also referred to as hardcore rave) is a music genre of the very early 1990s that spawned from the UK rave scene. It combines four-on-the- floor rhythms with breakbeats usually sampled from hip hop. In addition to the inclusion of breakbeats, the genre also features shuffled drum machine patterns, hoover and other noises originating from new beat, acid house squelches and bleeps, and often upbeat house piano rolls and vocals.
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Pandya was born in 1970s in England. In recent years he has championed a new subgenre of drum and bass known as drumfunk,IMO Records "Paradox Biography" , IMO Records, London, 21 October 2011. Retrieved on 23 November 2011. which focuses on either finding obscure breakbeats or re-sampling much used drum-and-bass breakbeats from their original source and transforming them into constantly shifting drum patterns, noticeably different from traditional drum and bass.
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"Jungle sped up breakbeats to 200 beats per minute and added ragga vocals from the Caribbean and heavy bassline". Retrieved 6 October 2006. ° Story of Reggae, UK Urban and Dance. BBC online. .
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The band's use of period film score-inspired music and breakbeats led to comparisons to the influential group Portishead, the first of what Allmusic calls "mid-'90s male instrumentalist/female singer duos".
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Breakbeats are used in many hip hop, jungle/drum & bass and hardcore songs, and can also be heard in other music, from popular music to background music in car and clothing commercials on radio or TV.
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Liquid are a British dance act, formed by Eamon Downes (a.k.a Ame) and Shane Heneghan (a.k.a DJ Model). "Sweet Harmony", Liquid's first and best-known track, layered the house music of CeCe Rogers' "Someday" over rolling breakbeats.
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With the advent of digital sampling and music editing on the computer, breakbeats have become much easier to create and use. Now, instead of cutting and splicing tape sections or constantly backspinning two records at the same time, a computer program can be used to cut, paste, and loop breakbeats endlessly. Digital effects such as filters, reverb, reversing, time stretching and pitch shifting can be added to the beat, and even to individual sounds by themselves. Individual instruments from within a breakbeat can be sampled and combined with others, thereby creating wholly new breakbeat patterns.
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A BBC radio recording was broadcast on BBC Radio 1 circa 1976. The group's track "Give It to You" contains one of the popular breakbeats of all time, and is featured in the Ultimate Breaks and Beats series.
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'Powerless' uses breakbeats like that; it's a real groove, a real vibe. It just carries you away. There’s a banjo mixed with a breakbeat from elements of Malcolm McLaren's 'Buffalo Gals.' So right away you're bobbing your head.
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This is a list of big beat artists, a genre that usually uses heavy breakbeats and synthesizer-generated loops and patterns. Big beat achieved mainstream success during the 1990s and early 2000s, but declined in popularity by 2001.
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2 Bad Mice are credited as among the first UK hardcore acts to begin incorporating breakbeats into their style. They were part of the early to mid-1990s hardcore scene, and were instrumental in the music's steady mutation into jungle/drum and bass.
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Cubanate are an English industrial band from London, England, founded in 1992 by Marc Heal and Graham Rayner with Phil Barry and Steve Etheridge. The group became well known for its early fusion of distorted heavy metal guitars and techno percussion (later incorporating breakbeats).
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Breakcore is a style of electronic dance music that emerged out of jungle, hardcore, and drum and bass in the mid-to-late 1990s. it is characterized by very complex and intricate breakbeats and a wide palette of sampling sources, played at high tempos.
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Since its release, it has been recognised as a blueprint for jungle music, which built upon its usage of ragga, reggae basslines and breakbeats. Now hailed as a classic album, most of the album's material was re-released on the Ragga Twins Step Out compilation in 2008.
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Vibert pioneered the "drill 'n' bass" subgenre, which experimented with jungle and drum 'n' bass breakbeats, on his 1995 EPs under the name Plug. He would go on further over the next few years to produce more music under the Wagon Christ name for Rising High and Ninja Tune.
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One and One Is One takes its title from a metaphysical Bengali poem. The album mixes the Farook and Haroon Shamsher's club interests with their regard for ancestral folk roots. It fuses drum and bass, techno, breakbeats and hip hop with traditional Asian. sounds of sitar, flutes and tablas.
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The album's production contains many motifs of hip hop's golden age including James Brown-sampled breakbeats and funky R&B; loops. The album is broken down track-by-track by Brand Nubian in Brian Coleman's book Check the Technique.Coleman, Brian. Check The Technique: Liner Notes For Hip-Hop Junkies.
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With the rise in popularity of breakbeat music and the advent of digital audio samplers, companies started selling "breakbeat packages" for the express purpose of helping artists create breakbeats. A breakbeat kit CD would contain many breakbeat samples from different songs and artists, often without the artist's permission or even knowledge.
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Written by Trent Reznor and Charlie Clouser, "Starfuckers, Inc." is one of the heaviest songs on The Fragile. The chorus is built on heavy metal guitars and choruses shouted by a crowd. The verses feature breakbeats, deep bass hits, and glitchy vocals. The outro introduces more synthesizers, distortion, and sound effects.
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Pickly Dred Rhizzoms is an EP by German electronica band Mouse on Mars. It was released on 3 May 1999 by Sonig and Thrill Jockey. It features experiments with glitch and techno further present on band's previous and next albums Autoditacker, Glam and Niun Niggung. EP uses more acoustic instrumentation, polyrythms and breakbeats.
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Breakbeat is a broad type of electronic music that utilizes breaks, often sampled from earlier recordings in funk, jazz and R&B;, for the main rhythm. Breakbeats have been used in styles such as hip hop, jungle, drum and bass, big beat, hardcore, and UK garage styles (including 2-step, breakstep and dubstep).
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It combines repetitive, looped vocal snippets similar to trap, bounce, ghetto house and ghettotech. Baltimore club is a sample based form of breakbeat, with samples used including theme songs to shows like Sanford and Son, SpongeBob SquarePants and Elmo's World, along with samples from shows like Family Guy, South Park & Ren & Stimpy - though can also be simple repeated phrases and chants. The instrumental tracks include heavy breakbeats and call and response stanzas similar to those found in the go-go music of Washington, D.C. The breakbeats are pulled from samples, with the most prominent being "Sing Sing" by disco band Gaz and "Think (About It)" by Lyn Collins. It is similar to the rave-era genre known as breakbeat hardcore.
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Pitchfork described PS I Love You as "an entry into the ambient glitch world of Mille Plateaux." AllMusic noted that it was a "significant departure from the manic breakbeats and blatant noise barrages of Kid606's preceding Down with the Scene" and also compared it to the "clicks + cuts sound of Mille Plateaux circa 2000".
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The EP was mixed at Metropolis Studios in West London. Blue clearly revealed that Sutton's interest was now heading towards programmed and sequenced rhythms. By this stage he was asking Simnett to replicate jungle breakbeats at speed on his kit. Bark Psychosis performed at the Britronica Festival in April 1994 in Moscow alongside Seefeel, Autechre, Ultramarine and Aphex Twin.
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The Smokering collaborated with Los Angeles based dj/emcee Lumis James on the track "Before The World Was Digital". It was recorded for "Into The Vortex, Volume 2", an IDM compilation released by Global Vortex Records in 2010. The song also aired on Los Angeles radio station 90.7FM KPFK's "Breakbeats & Rhymes" Radio Show on September 5, 2010.
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The album fused the breakbeats and basslines common in jungle with orchestral textures and soul vocals by Diane Charlemagne. The album's title track was a 21-minute symphonic piece. "Inner City Life", a track from the album, reached number 39 in the UK Singles Chart. Timeless helped to popularise drum and bass as a form of musical expression.
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It introduced sped up hip-hop breakbeats, piano breaks, dub and low frequency basslines and cartoon-like noises, which has been retrospectively called 'old skool' hardcore, and is widely regarded as the progenitor of happy hardcore (which later lost the breakbeats) and jungle (which alternatively lost the techno style keyboard stabs and piano breaks). Around 1993, the style became clearly defined and was simply named "hardcore", as it left its influences from Detroit techno. Paul Elstak, the founder of Rotterdam Records. The official birth of hardcore is supposedly known from the release of the 1990 track "We Have Arrived" by the German producer Mescalinum United, of Frankfurt. Trauner founded the label Planet Core Productions in 1989 and has produced more than 500 tracks, including 300 by himself until 1996.
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Christgau commended GZA's "factual" lyrics and its minimal style of production, stating "the budget production enhances a master lyricist's specialty by subtraction". The Village Voices Christopher R. Weingarten called the album "a no-nonsense mash of classic Gary Numan breakbeats, swipes at 50 Cent, retro-future noir production, and his inimitable puns".Weingarten, Christopher R. Liquid Swordplay. The Village Voice.
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In 2015, the song was listed at number 14 in In the Mix's '100 Greatest Australian Dance Tracks of All Time' with Nick Jarvis saying "With its memorable, sing- along vocals, nudge-wink drug references and – best of all – that monstrous pre-dubstep bassline paired with scattershot jungle breakbeats, it was a perfect fusion of radio-friendly pop smarts and club madness".
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Timeless is the debut studio album by British electronic musician Goldie. It was released on 31 July 1995 and universally regarded as a groundbreaking release in the history of drum and bass music. The album blended the complex, chopped and layered breakbeats and deep basslines of jungle and drum and bass with expansive, symphonic strings and atmospherics, and female vocals.
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He works very quickly, rattling stuff off in a couple of hours. He replaced all my beats with a combination of programming and breakbeats, mostly '70s funk stuff. Lil Louis took a completely different approach. He replaced the rhythm tracks on two of the songs and one we left as was He works with much more basic equipment – he's not as computerised as Mantronik.
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Big beat is a term employed since the mid-1990s by the British music press to describe much of the music by artists such as The Prodigy, Cut La Roc, Fatboy Slim, The Chemical Brothers, The Crystal Method and Propellerheads typically driven by heavy breakbeats and synthesizer- generated loops and patterns in common with established forms of electronic dance music such as techno and acid house.
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"Witches' Brew" was written about sly seduction. Its production is centered on synthesizers, breakbeats and influences of neo soul tones and electro. Two songs from the album, "Power on Me" and "Go Away", are about the dynamics of relationships. "Power on Me" displays vulnerability in Katy's vocals and is built over a funky house groove with synth tones similar to those by Axel-F.
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Bob Humid (also known as Robert Feuchtl) is a producer, DJ, sound-designer and mastering-engineer in the Cologne electronic music and studio-scene. His musical work expands from electronic breakbeats to experimental electronica while occasionally touching the area of club music and pop. He describes his own music as "Eclectica". He was born in Montevideo, Uruguay, but grew up in Germany for most of the time.
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The album's music was written in the rock idiom and arranged for bass, drums, and strings. As a composer, Axelrod abandoned the conventional unison approach to orchestral writing in favor of more contrasts while centering his tempos around rock-based drum patterns played mostly in common time by Palmer.; He utilized his instrumental ensemble as a rock orchestra, playing melodramatic strings and pronounced, echo-laden breakbeats.; .
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" "The Playboy Mansion" starts out with mellow, wah-wah guitar playing from Edge. Along with Mullen's drumming, there are breakbeats and hip-hop beats on the rhythm track, which were recorded as loops by Mullen. Howie described the loops thus; "Larry went off into a side room and made some sample loops of him playing his kit, and gave the loops to me and Flood.
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In March 1999, with the Budakhan Mindphone and "Maximum Priest" sessions wrapped up, Tom found himself in quite changed circumstances. He had made new friends in Sheffield and found himself a regular DJ and punter at various club nights around Sheffield. At this point Tom became quite skilled at tape editing. Another element that he was keen to bring back was the usage of sampled breakbeats.
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Digital Spy writer Lewis Corner felt that the title track had very few barriers, exemplified by the lyrics "I am, with or without you / I am, breathing without you / I am, somebody without you." Lewis performs the lyrics over an instrumentation of "rousing" strings and breakbeats. As she sings "I won't change for you," a heavy drum beat and occasional piano chimes reminiscent of songs by Avril Lavigne are played.
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In 2005, Distinct'ive Breaks Records released Phil K's entry in the Y4k series and features a combination of melodic breaks, bassy techno, and glitchy electro. The mix album featured "Cloudbrake", a "tech-edged" bass driven breakbeat track written by Phil K and Habersham. In 2006, Phil K and Chable as Lo-Step released Because We Can. The album combines emotive breakbeats and dirty, electro rhythms with strange synths and samples.
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Rossz Csillag Alatt Született () is a 2005 album by Canadian electronic music producer Venetian Snares, released on the Planet Mu label. Inspired by a visit to Hungary, the album title and all of the track names are in Hungarian; Rossz Csillag Alatt Született translates to "Born Under the Wrong Star ", a Hungarian expression which means "cursed from birth". Statistically, the album consists of classical strings and brass combined with breakbeats.
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Syncopated breakbeats remain the most distinctive element as without these a high-tempo 4/4 dance track could be classified as techno or gabber. The complex syncopation of the drum tracks' breakbeat is another facet of production on which producers can spend a very large amount of time. The Amen break is generally acknowledged to have been the most-used (and often considered the most powerful) break in drum and bass.
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Many mixing points begin or end with a "drop". The drop is the point in a track where a switch of rhythm or bassline occurs and usually follows a recognisable build section and breakdown. Sometimes, the drop is used to switch between tracks, layering components of different tracks, as the two records may be simply ambient breakdowns at this point. Some DJs prefer to combine breakbeats, a more difficult exercise.
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Masseling started making music at the age of 16. Beginning with 4-beat programmed loops and breakbeats, his interest in producing music started to grow. He began his career in 2001 after sending a demo to Mark Vos, also known as DJ Buzz Fuzz, director of BZRK Records. Vos liked the tape and signed Masseling, who then released his first EPs under the names "Menace II Society" and "Angerfist".
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Steve Angello was born to a Greek father and Swedish mother in Athens, Greece. Raised in Stockholm, Sweden, along with his brother Antoine Josefsson (who performs as AN21). Angello began as a scratch DJ at 12 years of age and was involved in many scratch competitions, combining hip-hop, breakbeats and 1970s classics. By his late teens, he began listening to electronic music and started as an electronic DJ.
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By the mid-1980s, British African-Caribbean people were also incorporating American hip-hop and House styles, becoming leading figures in Britain's developing dance music culture. This led to an explosion of musical forms. British artists created musical hybrids combining many elements including European techno, Jamaican dancehall, dub, breakbeats and contemporary American R&B.; These unique blends began to gain international acclaim through the success of Soul II Soul and the multi- racial Massive Attack.
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"Voyager" has guitar riffs, harp-like 80s synths, and a funky bassline. "Veridis Quo" is a "faux-orchestral" synthesizer baroque song; according to Angus Harrison, its title is a pun on the words "very disco". "Short Circuit" is an electro-R&B; song with breakbeats and programmed drum patterns. "Face to Face" is a dance-pop song featuring vocals from Todd Edwards, and is more pop-oriented than the other tracks on Discovery.
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Simon Reynolds Energy Flash: A Journey Through Rave Music and Dance Culture. (Picador, ) (excerpt) This is where the English music critic coined the name as a result of his personal perception of stylistic shifts in techstep – backbeats replacing breakbeats, funk harmonies replacing industrial timbres and lack of emphasis on the drop – by referring to them as, "(Neurofunk) is the fun-free culmination of jungle's strategy of cultural resistance: the eroticization of anxiety".
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Its pioneering influence on the genre became more prevalent with the label's first compilation, Funkjazztical Tricknology, in 1995. The genre originated in England as a successor to acid house, taking in acid jazz and funk, and using hip hop style breakbeats rather than the mechanical '4 on the floor' drum rhythm of house. Ninja artists especially looked beyond the normal sampling sources of old funk records into jazz, epitomised by Ninja act The Cinematic Orchestra.
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"Under the Sun" is a mid-tempo song, piano riffs, sun-kissed breakbeats, and a pop chorus. The song received a positive reaction from most music critics, with most of them, calling it a summery, carefree and enjoyable song. Some critics cited the Chemical Brothers, Natasha Bedingfield, and Lily Allen as references. "Under the Sun" fared commercially well where it debuted on the UK Singles Chart at number 57, climbing to number 13.
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CheckPoint 303's arrangements are grounded in electronica and experimental music with a touch of oriental tunes. The compositions are a blend of field recordings, audio samples, oud (the oriental luth) and keys embedded into loops of electronic beats ranging from downtempo, drum'n'bass to breakbeats and minimal techno. Several artists from around the world contribute to CheckPoint 303's compositions, these include Cheikh Julian, Ms K SuShi, MonaLisa, Noise Generator SoM, Melski and Damski.
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Six out of the nine tracks on the album including the title track "Just Listen" feature the Optigan. Alan also made extensive use of the "breakbeats" and the samples of the Hammond B3 organ that were part of the backing tracks found on many of the soul and R&B; oriented Optigan discs. The European distributor of the Optigan used Alan Steward's album for promotion and in-store demos. Steve Hackett has also made frequent use of the Optigan.
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In 1994, the influential techno act Autechre released the Anti EP in response to the Criminal Justice and Public Order Act 1994, deliberately using advanced algorithmic programming to generate non-repetitive breakbeats for the full duration of the tracks, in order to subvert the legal definitions within that legislation which specified in the section creating police powers to remove ravers from raves that "'music' includes sounds wholly or predominantly characterised by the emission of a succession of repetitive beats".
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Increasingly acclaimed artists such as DJ Rolando, Suburban Knight, and Drexciya also joined the collective. 1998's "Interstellar Fugitives", the first full album credited to Underground Resistance, saw Mike Banks redefining the collective's sound as "High-Tech Funk", reflecting a shift in emphasis from hard, minimal club Techno to breakbeats, Electro and even occasionally Drum and Bass and down-tempo Hip- Hop. In 2014, UR took part in a lecture and discussion at New York's Museum of Modern Art.
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Expectations were high for Rakim, as the album debuted at #4 on the Billboard 200 and went certified Gold by the RIAA. In June 1999, Rakim appeared on three tracks of "The Seduction of Claude Debussy" by Art of Noise. AllMusic's Keith Farley notes that "the album charts the artistic use of sampled breakbeats -- pioneered by the Art of Noise themselves -- with nods to '80s hip-hop plus their '90s equivalent, drum'n'bass." "Farley, Keith" allmusic.com. Retrieved July 23, 2018.
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Drum and bass emerged from the London breakbeat hardcore and rave scene of the late 1980s.[ "Jungle/Drum'n'bass"], Allmusic, retrieved 9 May 2010.S. Reynolds, Generation Ecstasy: Into the World of Techno and Rave Culture (Abingdon: Routledge, 1999), , pp. 251–69. Originally known as jungle, it was a pop-created fusion of hardcore, house and techno which was usually instrumental, using extremely fast polyrhythms and breakbeats and incorporating elements from dancehall, electro, funk, hip hop, house, jazz, heavy metal.
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We weren't trying to follow any > trend or fit into any category – we were just doing our own thing. ... Its > shuffling beats were a cross between reggae and what was to become known as > hip-hop: breakbeats and electronic sound. Caron Wheeler's vocal, coming over > these very heavy bass beats, was the icing on the cake. ... We also had the > Reggae Philharmonic Orchestra on the track, and the RPO became a key part of > our sound.
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Jungle is a music genre that developed out of the UK rave scene and reggae sound system culture in the 1990s. Emerging from breakbeat hardcore, the style is characterized by rapid breakbeats, heavily syncopated percussive loops, samples, and synthesized effects, combined with the deep basslines, melodies, and vocal samples found in dub, reggae and dancehall, as well as hip hop and funk. Jungle is directly related to drum and bass, which additionally first saw success in the 1990s.
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By late 1992, breakbeat hardcore was beginning to fragment, and darkcore was one of those subgenres to emerge, and counter to 4-beat. Darkcore is often characterised by dark-themed samples such as horror movies elements, cries for help, sinister sounding stabs and synthesizer notes, along with syncopated breakbeats in addition to 4-to-the- floor beats and low frequency basslines. It also saw the introduction of effects such as pitch shifting and time stretching to create mood.
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"Inner City Life" is a portion of the album's first track, "Timeless: Inner City Life/Pressure/Jah", which is a 21-minute opus. The song fuses the breakbeats and basslines common in jungle with orchestral textures and soul vocals by Diane Charlemagne. It has been described as a ghetto-blues ballad, 'a yearning reverie of sanctuary from "inner-city pressure"'. The track features a sample from Ike Turner's song "Funky Mule", from his 1969 album A Black Man's Soul.
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Their website describes their music as combining "elements of drumline, taiko, Mughal and North African rhythms, elements of Balkan fanfares, breakbeats, and just about anything else." Although best known for their free (and often confrontational) public performances at political protests,Christopher Frizelle, R.I.P., INB (1999-2006), The Stranger, posted online on August 8, 2006, accessed 27 March 2007. they sometimes performed at more conventional concerts and club gigs, usually featured as part of a musically eclectic program.
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Broadrick later described this shift as a dilution of Godflesh's original goal, which was to meld human and machine music. Love and Hate in Dub, a remix album released in 1997, saw Godflesh again experimenting, this time with hip hop, breakbeats and dub. Those experiments continued and heightened with the 1999 studio album Us and Them, which again featured machine percussion. After Us and Them proved creatively dissatisfying for Broadrick, the band found a new live drummer (this time in Ted Parsons).
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The band's emphasis on breakbeats, ironic audio samples and gangster rap samples became influential in the hardcore scene, most prominently with Australian artists signed to Bloody Fist. Due to their influence and the relatively small numbers of records that were pressed for earlier releases (including limited self-distributed cassettes), they have become popular with collectors. Bloody Fist Records provided "horrifically high-tempo electronic music that quickly became a thing of international legend. Specialising in breakcore, gabba and referential sample alchemy/exploitation".
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After a period of obscurity, Cymande's music was rediscovered in the 1980s and 1990s. Some of their songs were deconstructed and used as breakbeats by early hip-hop DJs Kool Herc and Grandmaster Flash. The British rare groove scene of the 1980s was openly influenced by Cymande. By the late 1980s they were being sampled regularly by rap artists, starting with De La Soul on their 3 Feet High and Rising album, plus EPMD, The KLF, MC Solaar, Heavy D, and many others.
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Holmes used the recordings he made in New York City of conversations and other street-level noise as samples on the album. These snippets of conversation were often spoken by people from New York's cultural underbelly, including prostitutes, pimps and drug-dealers. The samples were used in between the tracks on the album, and in some cases in the tracks themselves. The record contains a wide variety of styles within the electronica spectrum, including techno, breakbeats, trip hop and drum 'n' bass.
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Alongside contemporaries Herbie Hancock and Afrika Bambaataa, "Jiggs" contributed to hip hop's acoustic to electronic transformation. Chase also received co-writing credit on the Sugar Hill hit "Apache", which contains one of the most widely sampled breakbeats in history. Additional credits include arranging "That's the Joint" by the Funky Four Plus One and "My Favorite Person" by the O'Jays. Chase was the in-house producer/arranger at Sugar Hill Recording Studio and worked along with in-house engineer Steve Jerome.
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They told The 405 of the track, it: 'draws heavily on the traditions of UK dance music, and this track is at its heart a shout out to all of their favourite elements. Diva vocals, breakbeats and dark textures combine...' The official video features a montage of classic famous couples through history. It was directed by Australian digital artist 'Ego' and premiered on 'Ear Milk' on June 2, 2015. 'Love Is A Lonely Dancer' was released as a single on March 11, 2016.
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An example of D&B.; Drum and bass (also written as "drum 'n' bass"; commonly abbreviated as "D&B;", "DnB" or "D'n'B") is a genre of electronic music characterised by fast breakbeats (typically 165-185 beats per minute) with heavy bass and sub-bass lines, sampled sources, and synthesizers. The music grew out of breakbeat hardcore (and its derivatives of darkcore, and hardcore jungle). The popularity of drum and bass at its commercial peak ran parallel to several other homegrown dance styles.
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After the tour, in September 2006, the group released their 5th album,"Spacetimebomb." This was the first time Theremyn_4 collaborated with other Peruvian musicians and Argentinian musician, Gabriel Lucena (an ex-member of Entre Rios). The Peruvian musicians involved were: Paco Holguin (Emergency Blanket), Carlos Vasquez (Unidad Central), Bruno Macher (Sabor y Control) and Jason Fashe. The sound of this album shows how Theremyn_4 was able to step away from breakbeats and jazz, and step into acid house and techno.
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In June 2017, it was announced that the band is working on an upcoming album, titled Access Denied. In May 2019, the band released Youth Quake Pt 1, pairing electronica and breakbeats with a speech that teenage Swedish activist Greta Thunberg gave to the United Nations conference on climate change in 2018, in support of Extinction Rebellion and the urgent struggle for Climate Justice. The band reissued the album Rafi's Revenge the same year. In April 2020, the band released the video for Stealing the Future.
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The defining characteristic of a snare rush, as opposed to a roll, is the sheer virtuosity it would take for a physical drummer to play a successful one. As such, almost all snare rushes are computer programmed and can be used with bass drums, tom-toms, and cymbals to intensify the effect. They are often used as fills, alongside complex programmed breakbeats. Snare rushes are also often run through analog or dsp effects together with variations in volume, such as a filters or pitch shifting.
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Also sometimes known as atmospheric breaks, progressive breaks (or "prog breaks") is a subgenre of breaks that is essentially a fusion of breakbeat and progressive house. Much like progressive house, this subgenre is characterized by its "trancey" sound. Its defining traits include extended synthesizer pads and washes, melodic synth leads, heavy reverberation, and electronic breakbeats. However, unlike progressive house, very few progressive breaks tracks have vocals, with most tracks being entirely instrumental or using only electronically altered snippets of vocal samples for sonic effect.
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Grime is a British electronic genre that emerged in the early 2000s, derivative of electronic music such as UK garage and jungle, and draws influence from dancehall, ragga, and hip hop. The style is typified by rapid, syncopated breakbeats, generally around 140 bpm, and often features an aggressive or jagged electronic sound. Rapping is also a significant element of the style, and lyrics often revolve around gritty depictions of urban life. Australian grime emerged in 2010 after UK-born artist Fraksha released his mixtape It's Just Bars.
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Kniteforce records were not selling in the numbers Howell had anticipated. To bring more sales to the label, he commissioned a series of remixes from big- name DJs including Slipmatt, Sy, Vibes and Ramos. Hardcore changed in 1995 with heavily distorted kick drum riding over the well-established breakbeats. Some of Luna-C's productions mirrored this to keep up with the sound, and in 1996 he set up Malice Records to cater to the hard-edged gabber sound that was being mixed with UK happy hardcore.
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Us and Them is the fifth studio album by English band Godflesh. It was released through Earache Records on 17 May 1999 in Europe and on 8 June 1999 in North America. As with Godflesh's 1997 remix album Love and Hate in Dub, Us and Them is influenced by breakbeats, drum and bass, oldschool jungle, trip hop and hip hop. Shortly after Us and Them's release, Godflesh frontman Justin Broadrick admitted that he "hated" the album as it was the expression of an "identity crisis".
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"You Got the Love" (Now Voyager Mix), was released in February 1997 and reached number 3 in the UK Singles Chart. The Now Voyager mix was slower than the 1991 version and used breakbeats, orchestral strings, piano and a 'wall of sound' mix approach. The Now Voyager mix was also used for the closing credits of the final episode of the HBO series Sex and the City. "You Got the Love" was re-released by Positiva / EMI in 2006, reaching number 7 in the UK Singles Chart.
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"Witches' Brew" was recorded at Rinse and Zinc's Studio; mixed at the latter location and mastered by Stuart Hawkes at Metropolis Studios, in London. Having a length of three minutes and twenty seconds (3:20), "Witches' Brew" is styled in the musical genre of electro, incorporating diverse elements of breakbeat in its composition. Its instrumentation makes use of contrasting synthesizers, breakbeats and bass, as the song prominently utilizes the first instrument. Jon O'Brien from AllMusic considered Katy's vocal performance to be of a neo soul nature.
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Soundclash is the debut album by English electronic act Renegade Soundwave, released by Mute Records in February 1990. Co-produced by the band with producer Flood, the material was recorded over several years, and displays the band's unique style of dance music, taking influences from hip hop, rock and dub music. The music incorporates breakbeats, tape loops, stalking basslines and numerous samples sourced from disparate material. The album's lyrics concern social issues, with the band aiming to write lyrics that approach issues from unusual angles.
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Harrison was back in the spotlight early in 2005 to work with Amerie, and produced Amerie's "1 Thing", from her album Touch, known for its infectious breakbeats and Amerie's unconventional vocals. A similar beat was used by Harrison for Toni Braxton's "Take This Ring" from her 2005 album Libra both tracks include elements of go-go (mainly in the strong, funky drumming with added percussion). In 2005, The New York Times called him "one of R&B;'s most exciting producers."Sanneh, Kelefa (2005).
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Muzik magazine's Calvin Bush praised Feed Me Weird Things as "the kind of album Miles Davis might have made if he had been wired into breakbeats, Aphex Twin and Ninja Tune". Ben Willmott of NME hailed it as Jenkinson's "most consistently varied, bedazzling and rounded deposit to date". Retrospectively, AllMusic editor John Bush wrote that its incorporation of "dense jungle percussion" makes for "a difficult, yet ultimately rewarding album." The Wire listed Feed Me Weird Things as one of the 50 best records of 1996.
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On their second album, Pure, Godflesh began to experiment with sprawling ambient pieces (as on "Pure II"), hip hop and breakbeats (as on the introductory song "Spite") and extreme degrees of heavy repetition (as on "Predominance"). Selfless saw the band taking a more straightforward metal approach, with a heavy emphasis on riffs (as on "Bigot" and "Toll"). This era of Godflesh (1988 to 1994) would retrospectively be seen as Broadrick's favorite. Throughout their career, Godflesh have only released a handful of singles and music videos.
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Gamal's celebrity kept growing during the late 1990s, and she toured many places around the world. She has performed in countries like Trinidad & Tobago, Haiti and Costa Rica. 2002 proved to be a pivotal year for Gamal's career: She earned the Mondo Melodia Bellydance Breakbeats first place award on May 14 and was chosen to participate in the release tour of a CD -- Bellydance Superstars -- released on November 12. Gamar is also a bellydancing teacher and has taught in Los Angeles and San Francisco, California, in New York City and in Buenos Aires, Argentina.
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"God Break Down the Door" was announced and released as the lead single and fourth track to Bad Witch on May 17, 2018. The song premiered on Zane Lowe's Beats 1 show on Apple Music. Reznor explained the song originated from his desire to "get his technique back" on playing the saxophone, which he had sporadically played for 20 years. In addition to the saxophone, the song prominently features acid house breakbeats and what is described as a "frantic drumbeat", and has been described by critics as jazz fusion, electro-jazz, and trip hop.
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The sets were popular among followers of hardcore music, and Luna-C's released material displayed a harder edge and skipped wildly between breakbeats and gabber. German producer Panacea started to release material on KFA in 2003, and his influence on Luna-C's direction in production was evident on 2004's "Victory", a split single with Panacea's "Winter Mute". October 2004 also saw Luna-C's first venture into event promotion when Kniteforce's 12th birthday party was held at the Electrowerkz in London. By 2005 sales of KFA records had started to wane.
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Their first single for the new label was Secondhand Clothes, which showed a leaning towards the dub-bass-heavy post-punk sound of bands such as Public Image Limited and The Pop Group. This was followed in 1992 by the Beautiful Pigeon EP (which featured two rare songwriting collaborations between Callahan and Fiedler) and then by Moonshake's debut album, Eva Luna. The band began to earn many positive reviews for its unusual sample-driven and rhythmically propulsive sound, which drew on indie rock, noise-rock, breakbeats, electronica, psychedelia, dub, art-rock, Krautrock and punk.
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Bill Cassel of AllMusic gave the album 4 stars out of 5, saying, "Aceyalone wins major points for even trying to tackle weighty topics like life, death, time, and language." Brian Coleman of CMJ New Music Monthly called it "one of the most intelligent albums" of the year. Malik Singleton of Vibe described it as "an uninhibited exhibition of lyric artistry laid over jazzy breakbeats and rare groove loops". In 2015, Fact placed it at number 24 on its list of the "100 Best Indie Hip-Hop Records of All Time".
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Ackbar was featured in a 2009 CollegeHumor video called "Ackbar! The Star Wars Talk Show", where he played the host of a talk show similar to The Jerry Springer Show. Morgan Phillips, an independent hip hop musician and disc jockey, included a song about the character called "Admiral Ackbar Please" on his album Star Wars Breakbeats. In 2010, when the University of Mississippi began a process to find a new mascot to replace Colonel Reb, students Matthew Henry, Tyler Craft, Joseph Katool, and Ben McMurtray started a campaign to have Admiral Ackbar selected.
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Actual Sounds + Voices is the sixth studio album by electronic music group Meat Beat Manifesto, released in 1998. Like its predecessor, Subliminal Sandwich, the album deeply intertwines multiple forms of electronic music with live instruments such as the bass clarinet, saxophone, drums and Fender Rhodes. However, Actual Sounds + Voices is more influenced by jazz, coupled with a darker tone and characterized by persistent erratic breakbeats. The single "Prime Audio Soup" is featured in a scene of the hit 1999 feature film The Matrix and appears on the film's soundtrack.
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First single Happiness is pretty much a straightforward guitar pop tune which perhaps doesn't give a full indication of how eclectic this album actually is. Elsewhere the dance influence is prevalent taking in everything from subtle trip-hop on "Formal Tourist" and "Work Rest and Play" to breakbeats on "Manmade". Not that guitars have been left out in favour of a new trendy dance direction, but more that they've simply been added into the melting pop of the Hingley. Half the album is co-written by Jem Kelly of The Lotus Eaters.
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Originally the act consisted of two childhood friends, James Baker and Phil Aslett. Due to differences between the pair however, it became entirely a solo project of Baker's in 1999, after the release of Exorcise the Demons. Source Direct's music uses complex and irregular breakbeats, snappy and precise hi-hats, dark atmospheric sampling and abstract song structures. Source Direct have released music on a variety of record labels: Metalheadz, Science (Virgin Records), Good Looking Records, Astralwerks, Basement, Certificate 18, Odysee, Street Beats and the self-owned Source Direct Recordings.
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Storm the Studio is the debut album by English electronic music group Meat Beat Manifesto, released on 20 February 1989 by Sweatbox Records in the United Kingdom and later that year by Wax Trax! in the United States. Recorded in three recording studios, the album contains four compositions, each split into separate parts, that mostly originated as twelve-inch singles the band released in 1988. The record's inventive musical style features elements of industrial music, electro, dub, noise rock and hip hop music, and incorporates breakbeats, noise and sporadic rap vocals.
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The music on the album features typical jungle characteristics including influences from ragga, dub and dancehall, cut-up breakbeats, rude boy motifs and lyrics of urban alienation. The album sold 15,000 copies in the United States and was a major critical success, with many critics describing the album as a great introduction to jungle music. Furthermore, the album has also been credited as helping spread popularity of the genre in the United States. In 1999, music critic Ned Raggett named the album the 15th greatest album of the 1990s, and the decade's greatest compilation album.
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Big beat is an electronic music genre that usually uses heavy breakbeats and synthesizer-generated loops and patterns – common to acid house/techno. The term has been used by the British music industry to describe music by artists such as The Prodigy, The Chemical Brothers, Fatboy Slim, The Crystal Method, Propellerheads, Cut La Roc, Basement Jaxx and Groove Armada. Big beat achieved mainstream success during the 1990s and early 2000s with the mainstream success of artists like The Prodigy, The Chemical Brothers and Fatboy Slim. Big beat began to decline in 2001.
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The "rolling country-soul" and indie pop of "Harmony Hall" has been compared to the Grateful Dead, specifically their song "Touch of Grey". The song's release saw the band once again receive comparisons to the music of Paul Simon. The track's piano groove, percussion, and breakbeats are influenced by British baggy, rave, and Madchester music from the 1990s, such as "Unbelievable" by EMF, while the piano and strings in the bridge exhibit a Baroque style. The song's lyrics present a feeling of dread, contrasted against its upbeat sound.
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Featuring additional songwriting by Nellee Hooper and Marius de Vries, string arrangements by Eumir Deodato and production by Hooper and Björk, "Isobel" combines a lush orchestral sound with electronic breakbeats. Most commentators were enticed by "Isobel", which they declared one of the highlights of the Post album. The single peaked at number eighteen on the Finnish Singles Chart, twenty-three on the UK Singles Charts and forty-seven on the New Zealand Singles Chart. The song was included in the compilation album Greatest Hits (2002), whose tracks were selected by fans through a survey.
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AllMusic described Burial's recordings as "gloomy, dystopian soundscapes" which blend "fractured breakbeats with mysterious, pitch-shifted voices and loads of vinyl crackle, rainfall, and submerged video game sound effects." His work is inspired by British club music such as garage, jungle, and hardcore, while his first album was one of the first prominent dubstep albums. He was associated with the mid-2000s hauntology trend, in which British artists explored elements of "spectral" cultural memory. Bevan claims to compose his music in SoundForge, a digital audio editor, and to eschew the use of trackers and sequencers.
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"The Number Song" uses various breakbeats and vocal samples of count-offs. "Changeling" is reminiscent of new-age music and differs from the fast-paced nature of the album's previous tracks, slowly building up as more samples are mixed in before finally ending with a "sublimely spacey" coda. It segues into the first of three "transmissions" placed throughout the album, each featuring a recurring sample from the film Prince of Darkness (1987). "What Does Your Soul Look Like (Part 4)" evokes "uneasy futurism and techno-anxiety" and fuses a "rolling bass groan" with wordless, robotic chants.
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Bear placed the EP in the No. 1 spot in its year-end list of best albums, saying, "Similar to the experience of hearing Grimes for the first time, there's an obvious special, one-of-a-kind quality that just radiates from everything she does". Los Angeles Times critic August Brown said that EP2 and Yaeji's self-titled EP didn't fit into a specific genre, "which is probably why this young woman rapping in Korean while DJing tripped-out breakbeats and left-field house now plays to thousands.""Bedouine, Kehlani, the Regrettes, Yaeji and other 2017 recordings to revisit". Los Angeles Times.
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The album opens with the multi-song suite "Juanita : Kiteless : To Dream of Love", which features all three parts intersecting each other at various points during the piece; hence, the use of colons instead of slashes in its name. The loungy, drum and bass track "Banstyle" follows, alongside its downtempo, half-speed counterpart "Sappy's Curry". The rest of the record showcases advancements in the Underworld sound: both "Rowla" and "Pearl's Girl" feature club-ready abrasive beats and basslines, while "Blueski" and "Stagger" incorporate live acoustic guitar and light, melancholic arrangements, respectively. "Pearl's Girl" is one of the few Underworld songs to use breakbeats.
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"Heirloom" alters "between what sounds like a samba preset on a vintage Wurlitzer organ and skittering breakbeats, and is decorated with inverted synthtones and analog keyboards". The song's lyrics tell a "fuzzy story" about a recurring dream, while "[likening] the art of singing to swallowing and exhaling 'glowing lights'" as Björk sings: "During the night/They do a trapeze walk/Until they're in the sky/Right above my bed". Film director Harmony Korine wrote "Harm of Will"'s lyrics. The Slate album review noted the minimalist nature of the track, pointing out a lack of hook, beat and melody.
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MING was one half of the experimental hip-hop and turntablist duo, Ming + FS, founded in 1996. The duo used breakbeats as the foundation for most of their work, but were best known for eschewing musical boundaries, freely incorporating elements of house, electro and drum and bass into their music. They dubbed this smashed-up style "junkyard", a moniker that got picked up in dance music press, and on their own releases (like 1998's “Junkyard Drum ‘n’ Bass”). Over the course of a decade, Ming + FS performed over 1,000 live shows in the United States and abroad.
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The album's usage of bass was compared to dub producers like Dennis Bovell (pictured). Bass Is Maternal is a trip hop album that explores the link between British rave culture and Jamaican dub music. The duo took an experimental approach, mixing dub, hip hop, reggae, rock and electronic music into numerous hybrids largely of a dance music nature. The record prominently incorporates dense jungle music, applying the genre's sped up breakbeats to dub music and shoegaze, and also fuses ambient music, electropop and usage of space synths, although characteristic of the album throughout is the heavy usage of seismic bass.
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Dextrous took his DJing up a gear when he started to play at parties and small clubs in 1987. At around the same time, he began putting his studio together, based around an Atari 520STFM, Casio HT3000 keyboard, Casio CZ-101 Synth and Yamaha TX7 Sound Module. He released his first record in 1992, on Ruff Quality Recordings (the sister label of Shut Up and Dance Records) entitled "Ruffneck Biznizz" which topped the Kiss FM House charts. This track was one of the precursors to the jungle scene, with its sped up breakbeats and reggae/dub basslines.
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Freetekno party Freeteknitians at Teknival 2004, Ontario, Canada Tekno or hardtek is also a style of music which takes elements from both techno and hardcore and tends to be very fast and loaded with energy. Speedbass, speedcore and other forms of underground music can be heard at freetekno parties. Freetekno events do not always play spine-crunching, brain melting, ear-drum shattering hardcore (especially the Frenchcore subgenre), though; psychedelic trance, happy hardcore, hardstyle, drum and bass, breakbeats, glitch, electro, world beat, house, techno, trance, and many types of experimental fusion music are also popular at freetekno events.
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Craig McLean of The Face called the track "Broadway on breakbeats". Various critics have discussed the song's distinctive tempo, with Pulse!s Tom Lanham comparing it to "a camel making its way across the desert", and Rolling Stones Lorraine Ali writing that the song "snakes along like a patient desert caravan". Conceived by Björk as "part autobiography part storytelling", its lyrics concern Isobel, a woman magically born in a forest who finds people in the city "a bit too clever for her", eventually retreating back to nature and sending them a message of instinct through trained moths.
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Potter grew up in Brighton, England, and was signed to the British record label, Rocstar Recordings. He started creating and producing music when acid house came on at the end of the eighties. In an interview he described the cause of his "infection" for electronic music and DJing: "I'd never really liked house music up until then, but this was kind of different, because it had the hip- hop element through the breakbeats, it made total sense to me". In 1998 he released "Post Punk Progression" which NME lauded as "what the Beatles would have sounded like if they'd invented jungle".
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Regarding the band's style and genre, Noisey wrote: "It's black metal, but then again, it isn't; there are massive electronic, jazz, and psychedelic influences, as well as pronounced Middle Eastern inclinations in melody and aesthetic". According to Stereoboard, they "are a band like no other....Portishead playing lo-fi metal might be somewhere vaguely near the mark". Galil said they "mix Middle Eastern song structures and samples, atonal experimental and avant-garde accents, guttural metal howls, accessible electronic breakbeats, sludgy doom metal guitar-work, nimble piano interludes, and plenty of pop panache to create an unrelenting, moving sound".
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Mr. Scruff's Keep It Unreal was released in the summer of 1999. Filled with bubbly breakbeats, slick horn sizzles and bristling house beats, the album opened with BBC Radio 1 DJ Mary Ann Hobbes asking, "Are you ready Mr. Scruff?" At some point in 1999, the U.S. Federal Communications Commission decided that DJ Vadim and Sarah Jones' pro-women empowerment record Your Revolution was "indecent" for radio. The decision ended up in court in 2002, where arguments were advanced for freedom of speech, freedom of expression and to argue the double standards of the ban and fine.
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Drukqs contains tracks dating back "seven or eight years", according to James, though most of the album was relatively new. The LP is a double album featuring roughly two styles: rapid, meticulously- programmed tracks utilizing exaggerated drum 'n' bass breakbeats, and classical piano pieces made using computer-controlled instruments such as a modified Yamaha Disklavier and several MIDI-controlled, solenoid-based drum mechanisms made by James. NME noted that the album moves through techno, drum 'n' bass, and early-90s rave, while the piano interludes were compared to the work of Erik Satie. Pitchfork also noted "several purely electro-acoustic excursions".
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Blame grew up listening to electro and hip hop music. While studying at college, Blame was exposed to house music from Europe and the United States and was inspired to combine hip hop breakbeats with these new House music sounds. He then hired a community recording studio in Luton called the 33 Arts Centre to work on his own music and the resulting track was "Music Takes You", which ended up getting signed to the Moving Shadow record label in 1991 while he was still a teenager. Moving Shadow also released Blame's singles "Feel The Energy", "Are You Dreaming", and "Neptune".
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At this time, both their bands simultaneously began to disintegrate leading them to form their own outfit Rocket Science. Rocket Science's first gig was at The Jug of Ale in Moseley, Birmingham. The duo played simple FM synthesis keyboards put through numerous guitar effects pedals, acoustic guitar, bass guitar and various tone generators and used a four-track recorder to play back a combination of processed found sounds, film dialogue, and distorted breakbeats. Their music at this early stage was instrumental and often repetitive, recalling the sounds of early techno- ambient albums by Aphex Twin, and the lush washes of Brian Eno.
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The main players in 4hero first met and came to prominence in the late 1980s when they were involved in the Strong Island FM pirate radio station. Marc Mac and Gus Lawrence set up Reinforced Records in 1989 to release their own productions as 4hero, with the group being completed by Dego and Ian Bardouille. Their first release was the 1990 single "All B 3 / Rising Son". The follow-up EP, Combat Dancin', underpinned the sub-bass pressure of the bleep 'n' bass artists associated with Sheffield's Warp Records, such as LFO and Nightmares on Wax, with mid-tempo hip-hop-style breakbeats.
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It is characterized by a dark, sci-fi mood, near-exclusive use of synthesised or sampled sound sources, 2-step kicks and snares and influences from industrial and techno music, what some writers have described as a "clinical" sound. Although described as having a "techy" feel, techstep's relationship with techno should not be overstated. It shares the technique of creating a high-energy collage from abstract, synthetic noises, including samples, bleeps and squelches: it rarely uses instruments that have not been processed by effects. Similarly, quantized drum-machine kit and percussion sounds are favored over naturalistic human breakbeats.
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Hotwired is the third studio album from The Soup Dragons. Recorded in 1991 and 1992 at Livingston Studios and Advision Brighton, it was released April 21, 1992. AllMusic described Hotwired as the album where the Soup Dragons reached "the happy medium between the slick breakbeats and guitar-based rock & roll", adding that the songs are "among the strongest of the band's career". Both "Pleasure" and "Divine Thing" were alternative dance singles that became moderate hits in the U.S.. Bold production effects include chugging guitars on "Getting Down", a romping harmonica jam on "Running Wild"Listen to Running Wild and gospel choir-like background vocals sprinkled throughout the album.
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The Amen break, a drum break from The Winstons' song "Amen, Brother" is widely regarded as one of the most widely used and sampled breaks among music using breakbeats. This break was first used on "King of the Beats" by Mantronix, and has since been used in thousands of songs. Other popular breaks are from James Brown's Funky Drummer (1970) and Give it Up or Turnit a Loose, The Incredible Bongo Band's 1973 cover of The Shadows' "Apache", and Lyn Collins' 1972 song "Think (About It)". The Winstons have not received royalties for third-party use of samples of the break recorded on their original music release.
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Dusty Fingers is the name of a series of compilation records of songs that are widely admired as breakbeats collected by Bronx DJ Danny Dann the Beat Mann. & Jason Jaz, Dusty Fingers interview at HipHopDX Some of the songs featured contain "open breaks" which are solo drum passages which enable DJs to easily transition into them. These are also attractive to producers, who loop or rearrange them to create new compositions. Following in the tradition of the Ultimate Breaks and Beats series, the Dusty Fingers records contain an eclectic range of musical styles: mainly funk and jazz, but also including soul, rock, disco, and pop.
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"I contacted him and he agreed to work with us, so long as he could remain anonymous." In an audio story about Breakmaster Cylinder's compositional and recording techniques, Song Exploder producer Hrishikesh Hirway states, "I interviewed Breakmaster Cylinder, but out of respect for his or her privacy and mystery, I had an actor replace Breakmaster Cylinder's voice...or did I?" The name "Breakmaster Cylinder" is a portmanteau of "breakmaster"—a musician who works with breakbeats—and "master cylinder"—an automotive component that regulates the brakes of a car, truck, or motorcycle. When asked about their gender, Cylinder has referred to themself using the singular they pronoun.
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Of his own contributions to its production, Shocklee cited himself as being the arranger and noted that he had "no interest in linear songs". When using records for sampling, Shocklee stated that he'd sometimes put them on the ground and stomp on them if they sounded too "clean." Hank referred to Chuck D as being the person who'd find all the vocal samples, Eric Sadler as "the one with the musical talent," and noted that his brother, Keith Shocklee, "knew a lot of the breakbeats and was the sound-effects master." Shocklee's sentiments were reinforced by Chuck D while explaining the group's working methods during production.
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Broadrick's electronic work was informed by the early rave parties he attended in the early 90s seeing Jeff Mills, Robert Hood, Plastikman and Aphex Twin as well as his friendship with fellow Brummie Karl O'Connor better known as Regis, the head of Downwards Records. Broadrick also went on to call Dillinja his "favorite producer of filthy bass and cutting breakbeats, absolutely direct, textures unlike any, the ultimate DnB producer". Broadrick has also credited Moritz von Oswald's dub techno projects Basic Channel and Maurizio as well as his record label Chain Reaction as a main influence on JK Flesh. JK Flesh's sound has also been compared to Andy Stott and Ancient Methods.
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Trent Reznor of Nine Inch Nails in 2008 In the 90s many electronic acts applied rock sensibilities to their music in a genre which became known as big beat. It fused "old-school party breakbeats" with diverse samples, in a way that was reminiscent of Old school hip hop. Big beat was criticised for dumbing down the electronica wave of the late 1990s. This sound was popularised by British acts such as Fatboy Slim, The Prodigy and The Chemical Brothers and from the US The Crystal Method, Überzone and Lunatic Calm.. This period also saw the rise of artists who combined industrial rock and metal.
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Jungle was also seen as "England's answer to hip-hop", with the goal of breaking down racial boundaries and promoting unification through its multiculturalism—drawing from different cultures and attracting mixed crowds at raves. Jungle's rhythm-as-melody style overturned the dominance of melody-over-rhythm in the hierarchy of Western music, adding to its radical nature. Characterized by the breakbeats and multi-tiered rhythms, Jungle drew support from British b-boys who got swept up into the rave scene, but also from reggae, dancehall, electro and rap fans alike. Reynolds described it as causing fear and “for many ravers, too funky to dance” yet the club scene enjoyed every second.
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An important figure in the creation of American R&B;'s "stuttering kick-drums template," Timbaland's influence extended beyond the U.S. and crossed international waters, especially in UK garage and rave culture. Timbaland, as an R&B; producer, created a distinctive, rhythmic sound using breakbeats, which break up the smooth flow of tracks to create moments of tension and release. This technique that Timbaland pioneered would later serve to create "bootleg" garage tracks, which was essential in the rise of UK garage. What began as an underground movement soon grew in popularity, with bootleg remixes selling upwards of 20,000 copies, something unheard of at the time.
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In 1997, one of their tracks, a remix of Nuyorican Soul's "Black Gold of the Sun", was released to critical acclaim with Louie Vega himself describing it as "...one of the best remixes ever...". The next year, 4hero rose again to mainstream visibility with their third studio album as 4hero, Two Pages (1998). Released on Gilles Peterson's Talkin' Loud record label, the double CD blended jazzy double bass, flowing breakbeats and a brew of mysticism, spiritualism, astrology, U.F.O.s, and environmentalism. Luke Parkhouse provided the drums while Ursula Rucker, Carol Crosby and Face V. Walsh provided vocals alongside veteran singer Terry Callier and a few other special guests.
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In 1991 UK music journalist Matthew Collin wrote that "Europe may have the scene and the energy, but it's America which supplies the ideological direction...if Belgian techno gives us riffs, German techno the noise, British techno the breakbeats, then Detroit supplies the sheer cerebral depth."Brewster 2006:364 By 1992 a number of European producers and labels began to associate rave culture with the corruption and commercialization of the original techno ideal.Reynolds 1999:183 Following this the notion of an intelligent or Detroit inspired pure techno aesthetic began to take hold. Detroit techno had maintained its integrity throughout the rave era and was pushing a new generation of so-called intelligent techno producers forward.
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" Comparing the album to David Bowie's then- new drum and bass-influenced single "Little Wonder" (1997), he said "Bailey's use of drum'n'bass could never be suspected of cashing in on a fad." More reserved in his assessment was Rick Anderson of AllMusic. He called the album's concept "a brilliant idea, and one that should have worked much better," writing that "Bailey plays with his usual ferocity, skirling out ideas at such a rate that it's hard to keep up -- at times, he even plays in tempo with DJ Ninj's double-speed breakbeats, a feat that is impressive physically, not to say musically. But in other places he sounds hesitant, as if baffled by the clattering torrent of rhythm.
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Richard in Your Mind have been described as borrowing their sound and style from 60's psychedelic pop, Strawberry Fields era Beatles, and distinctly modern hip hop and electronic influences and recording styles. This combination is described as 'sampledelica'. These broad musical influences are reflected in the band's choice of instrumentation outside the generic guitar/bass/drums, the artists choosing to use eastern strings and percussion, as well as spoken word samples and breakbeats. Their stage presence, use of props and elaborate decoration in their live performance has been well received by the Australian music media and are an homage to the elaborate shows of other neo-psychedelia bands such as The Flaming Lips.
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His music is known for its high tempo breakbeats and liberal use of noise and sampling, as well as its punk aesthetic, uninhibited genre-mixing, and irreverent sense of humor. However, he is equally adept at creating more serious tracks that often reside in the realm of ambient and glitch ("Parenthood" from Kill Sound Before Sound Kills You and the entirety of P.S. I Love You being good examples). Notable releases by Kid606 include Don't Sweat the Technics (VC140: 1998), Down with the Scene (IPC-7:2000), P.S. I Love You (MP93: 2000), and Kill Sound Before Sound Kills You (IPC-46: 2003). He collaborated or participated in the groups Flossin, Spacewurm, Ariel and Disc.
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They helped introduce or gave career defining breaks to lyricists like Qamar Jalalabadi, Anand Bakshi, Gulshan Bawra, Anjaan, Verma Malik and M G Hashmat. In the late 1990s and early 2000s, their work was introduced to a young Western audience by three albums. Bombay the Hard Way: Guns, Cars and Sitars was a mix album put together by US DJ Dan The Automator; Bollywood Funk was an Outcaste compilation album put together by Sutrasonic DJs Harv and Sunni; while The Beginners Guide To Bollywood was compiled by John Lewis from Time Out magazine. All three of these records concentrated on Kalyanji Anandji tracks from 1970s films that featured funk breakbeats, wah-wah guitars and Motown- style orchestrations.
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In Europe, the breakcore genre was solidified by raves and club events such as Belgium's Breakcore Gives Me Wood, featuring local acts such as UndaCova and Sickboy; Breakcore A Go Go, in the Netherlands, which was run by FFF and Bong- Ra; as well as Anticartel, in Rennes, the seat of PeaceOff, and later, Wasted, in Berlin and Bangface in London. Breakcore has been subject to changing and branching. Many newer breakcore artists (such as Mochipet etc.) focus on melodic progressions and complex drum programming while other artists still focus on distorted hardcore breakbeats and dark-edged musical influences (such as heavy metal, and industrial). The artist Venetian Snares has produced breakcore blended with elements of classical music.
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" Parker's guitar work is clean and explores single-note melodies, taking the band's music back to "a more rock-based structure." The music is characterized by subtle alterations in sound, shifting arrangements, walking bass lines, noise, contemplative melodies and fusion percussion which incorporates reverberating snare drums. Despite the band's new direction, TNT does bear similarities to the band's previous work through its "distant feedback, restrained drones, lightly-brushed drums and ticking breakbeats." According to CMJ New Music Monthly, "pieces of one track drift subtly through others, and the whole things moves like a postmodern dreamscape, mixing and remixing scraps of sense, condensing and displacing them to form an eerie and volatile composite.
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Band members William Talbert, Tyrone Steels, Ernest Lattimore and Gregory Ingram later formed another band, Shotgun, who recorded six albums between 1977 and 1982. Shotgun, A FUNKLOPEDIK ARTIST REVIEW . Accessed April 22, 2012 They also had eight hit records on the Billboard R&B; chart, the most successful being "Don't You Wanna Make Love" which reached #35 on the R&B; chart in 1979. Starting in the early 1990s, Ghetto: Misfortune's Wealth became used as a source of breakbeats, by Eric B (on "In The Ghetto" in 1990), Dr. Dre (on "Nas Is Coming"), Jay-Z (on "Can I Live Pt 2"), Digable Planets (on "Cool Like Dat"), Naughty by Nature (for "Poverty's Paradise") and others.
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To fill the void, Robert Hampson of Loop was brought in to play on half of the new album's tracks as well as on Cold World (1991), an EP recorded in the same sessions. The sophomore album, Pure, was released in 1992 through Earache and has since been recognised as an influential release in the post-metal genre. Musically, Pure was even more mechanical than Streetcleaner, further emphasising the drum machine and featuring production that augmented the percussion with a stark, bleak atmosphere. Though Godflesh's most overt experiments with hip hop and breakbeats occurred later in their career, Pure featured elements of both buried under the wailing guitar, shouted vocals and aggressively repetitive drumming.
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A guest contributor at The Independent believed that the genre was a derivative of J-pop and various extreme metal genres, namely "speed metal, power metal, black metal, and industrial metal". While discussing Babymetal, The Sydney Morning Herald's Rob Nash opined that the genre consisted of "sugary pop melodies over thrash metal": Nash also believed that the group's song, "Awadama Fever" exemplified the genre, saying the song contained "slabs of angry guitar and undanceably fast breakbeats, while the girls [Babymetal] squeak about 'bubble ball fever' and chewing gum". Kawaii metal band Deadlift Lolita in 2017. Discussing Ladybeard, and Ladybaby, Jake Cleland of The Sydney Morning Herald defined the genre as "saccharine pop with his heavy metal growling".
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Formed in 1989, by Mark Archer and Chris Peat, Nexus 21 was a British techno duo from Stafford, England.New Straits Times 22 Aug 1992 Retrieved July 2011 The group was signed to the Blue Chip record label, under which they released (Still) Life Keeps Moving: a vocal techno tune, and The Rhythm Of Life, an LP album strongly influenced by Detroit techno with acid house, electro and breakbeats elements. A second album was set for release in late 1991, but due to sample clearance problems, the LP never materialised. A small edition of white labels of I Know We Can Make It / Sychologic PSP was released, which showcased a bigger hardcore influence.
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By late 1992, just as raves in the United Kingdom were becoming increasingly notorious, numerous rave music singles had seen crossover success, transcending from their underground rave status into becoming chart hits. Free parties had also gained ground in 1992. Many of rave's most successful singles were in the breakbeat hardcore genre,Energy Flash, Simon Reynolds, 1998 a genre that combines breakbeats, four-on-the-floor rhythms, a fast tempo alongside other features such as piano and "hoover" sounds. As the sound gained popularity commercially, numerous compilation albums were released to document the scene's most commercially successful records, including Telstar's Rave Alert (1992) and Virgin Records' The Ultimate Rave (1992) and The Mega Rave (1993).
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In the UK, happy hardcore as it had become known was starting to gain popularity alongside jungle by 1995, often being hosted in the second arena at major raves such as Dreamscape and Helter Skelter held at the Sanctuary Music Arena. In London, the pirate radio station Dream FM would become the primary champion of the genre. The sound was also changing, tracks increasingly losing their breakbeats towards a stomping 4/4 kick drum pattern, and more vocally-led. DJs and producers that began to come through included Hixxy, Breeze, Force & Styles, DJ Sharkey, and DJ DNA, and tracks that started to define the genre included Heart of Gold and Above the Clouds.
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Although recording for Guitars, Drums 'n' Bass was completed in September 1995, it was delayed until John Zorn's Japanese record label Avant Records released it as a limited edition on 21 August 1996, with an album cover designed by Arai Yasunori. It was also released by Koch Records. According to Simon Reynolds, the appearance of the album in 1996 was during a period when many disparate artists experimented with jungle and drum and bass, citing Bailey's experiments as one example of a non-jungle artist "dabbling with sped-up breakbeats" in this era, alongside jazz-pop duo Everything but the Girl and techno producers Aphex Twin and Underworld. Comedian and writer Stewart Lee's introduction to Bailey was through listening to Guitar, Drums 'n' Bass in 1996.
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2004 also saw Coldcut produce a radio play in conjunction with renowned young author Hari Kunzru for BBC Radio 3 (incidentally called Sound Mirrors). Coldcut returned with the single "Everything Is Under Control" at the end of 2005, featuring Jon Spencer (of Jon Spencer Blues Explosion) and Mike Ladd. It was followed in 2006 by their fifth studio album Sound Mirrors, which was quoted as being "one of the most vital and imaginative records Jon Moore and Matt Black have ever made", and saw the duo "continue, impressively, to find new ways to present political statements through a gamut of pristine electronics and breakbeats" (CITATION: Future Music, 2007). The fascinating array of guest vocalists included Soweto Kinch, Annette Peacock, Ameri Baraka, and Saul Williams.
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Since the mid-1980s, Reynosa and his cousin Jurny Big performed as the duo LPG, and they released The Earthworm in 1995. With breakbeats, melodic riffs, and strong production, the recording broke new ground at a time when most Christian rap was considered a cheesy and watered-down imitator of secular rap, and according to LA Weekly, many consider the album "to be the first gospel-rooted album to feature real hip-hop." The Tunnel Rats proper released its debut album, Experience, in 1996 on Brainstorm Artists International, and started receiving letters from teenagers who were inspired by the group to leave gangs or excel in school. The group's efforts also started impacting the Christian hip hop genre, which started garnering serious critical attention.
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In 1996, he composed the soundtrack to Rurouni Kenshin, where, through the duration of the series, combined rock with a more traditional Japanese sound, giving it the spirit of classic Jidaigeki movies, but also incorporated modern elements—such as electric guitars and breakbeats—into the score, giving the soundtrack a contemporary feel to it. He was very noted for this achievement, and applied this style to his later works. His work has been released on numerous CDs, and has aspirations of composing music for a major Hollywood motion picture. Contrary to popular belief, "Add'ua", the theme song to the first Tenchu game was not sung in Japanese, but rather in the West African language of Hausa, at his wife's request.
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With many of their new relationships being the result of broken ones, Brandy and Timbaland were inspired to experiment with a number of sounds and influences to create a unique, individualized sound that was distinct from other R&B; music. The result was an organic, mellow contemporary R&B; album that experimented with the New York-based illbient style, which infuses eccentric hip-hop breakbeats, ambient soundscapes, and the unorthodox sampling of indie rock and various film scores. Brandy also continued to experiment with her singing, opting to use more technical applications of counterpoint and multi-track recording toward her vocal arrangements. An autobiographical album, the songs feature intimate lyrics which discuss the singer's personal struggles with codependency, monogamy, misplaced loyalty, and professional anxiety.
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From its inception, one of the defining characteristics of the electro sound was the use of drum machines, particularly the Roland TR-808, as the rhythmic basis of the track. As the genre evolved, computers and sampling replaced drum machines in electronic music, and are now used by the majority of electro producers. It is important to note, that although the electro of the 1980s and contemporary electro (electronic dance music) both grew out of the dissolution of disco, they are now different genres. Classic (1980s) electro drum patterns tend to be electronic emulations of breakbeats (occasionally a four to the floor pattern is used as well), with a syncopated kick drum, and usually a snare or clap accenting the backbeat.
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After a yearlong stint as artist in residence at Stanford University, Gale moved to San Jose, California in 1972. Helping to bring jazz into the 21st century, the trumpeter made numerous appearances with Oakland hip-hop outfit The Coup, whereby Gale's trumpet could be heard engaging with the music's breakbeats and turntables. In the late 1990s Eddie Gale also held regular creative music workshops at the Black Dot Café, a grassroots performance space in Oakland run by artist/activist Marcel Diallo and his Black Dot Artists Collective. The collaboration with Desert Storm Veteran and Guitar player in his many different projects, Dennis Kyne, helped develop Music in our schools and a free trumpet program for underserved youth in San Jose.
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"From The Outside Looking In" - The Perimeter on Kiss 105.3 is a Gainesville, Florida ritual, bringing the best of the Underground to the airwaves and the internet each and every Sunday night at 8pm EST. A veritable overnight success, The Perimeter was created in 1992 by Mike Masters, the PM Drive on-air personality at the time, and has remained the top rated weekend radio broadcast in the region since then. Masters crafted the name of the show after the famed I-285 "Perimeter" in Atlanta, GA - upon return from a weekend visit to his brother who lived there. The Perimeter initially included music from the Progressive and Industrial genres, along with the Drum & Bass, House, Breakbeats and Hip Hop that you can still hear.
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He has released three albums as Prometheus; Robot-O-Chan (2004), Corridor of Mirrors (2007), and Spike (2010). The albums have been well received by the trance community for their innovation, dancefloor appeal, and their incorporation of non- traditional influences. Robot-O-Chan features two down-tempo tracks, whereas Corridor of Mirrors maintains a consistent trance bent. Younger Brother have released four albums to date, A Flock of Bleeps (released in 2003), The Last Days of Gravity (2007), Vaccine (2011) and Vaccine Electronic. Younger Brother’s musical output is much more varied than that of Prometheus, with tracks ranging from the psychedelic French ballad, "The Receptive," to progressive breakbeats such as "Weird on a Monday Night", to sounds reminiscent of Pink Floyd on their recent album.
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Starting in the early 1990s, Warren's recordings – particularly Ghetto: Misfortune's Wealth – became used as a source of breakbeats, by Eric B (on "In The Ghetto" in 1990), Dr. Dre (on "Nas Is Coming"), Jay-Z (on "Can I Live Pt 2"), Digable Planets (on "Cool Like Dat"), Naughty by Nature (for "Poverty's Paradise"), and others. Ghetto: Misfortune’s Wealth was reissued on CD in 1995. Recordings which Warren had made with 24-Carat Black in 1973–1974, largely comprising orchestrated versions of love songs he had reportedly written in the mid-1960s, were stored by keyboardist, engineer, and protégé to Dale Warren, Bruce Thompson and were released on Vinyl and CD in 2009 under the title Gone: The Promises of Yesterday.
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First and foremost an album of dance music, Bothy Culture primarily celebrates and draws from the music of Bennett's native Gaeldom as well as Scandinavian music and Islamic music. Dave Sleger of AllMusic felt the album mixes music from Punjabi, Scandinavian, Turkish and Irish cultures with modern club music styles like rave, techno and hip-hop, creating what he calls a "assiduous hybrid." Though Bennett's previous work used electronic dance beats, Bothy Culture developed upon the prominence of these beats considerably, with styles of drum and bass and trippy breakbeats. Billboard believed the album uses Bennett's native folk styles as the touchstone for what is essentially an "ultramodern" world music album, while CMJ New Music Monthly emphasised the album's mixing of Gaelic traditions with "skittering" electronic beats.
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In autumn 1994, Tom began to pursue his fascination for integrating breakbeats into electronic music. This was partly inspired by early 1990s recordings on record labels such as Shut Up And Dance, Chill, D-Zone and Kickin', but also Aphex Twin's usage of breaks in tracks such as "Polynomial C" and "Dodeccaheedron" as well as Renegade Soundwave's "Black Eye Boy" and Mantronix's "King of the Beats", which had been a favourite of Tom's from the days of DJing at parties in Chelmsford. The first recordings using Tom's new set up were released on the Spymania label. This was an offshoot of Zoom Records, which was based in Camden Town and was set up by Tom's school friends Hardy Finn and Paul Fowler who worked at Zoom.
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His alter-egos for various labels provided outlets for dabbling in other genres such as drum and bass/jungle (DJ Mowgly), Detroit techno (Jaguar) and even chiptune music (Nintendo Teenage Robots). After the demise of Atari Teenage Riot, Empire's major releases for DHR sought to continue in the guitar-based, punk-influenced vein of the band. Intelligence and Sacrifice utilised live guitars, breakbeats, noise, sampled cinematic dialogue and Empire's trademark spoken/shouted English vocals, while Futurist saw a more obvious return to his punk roots and consequently sounds as if it were largely recorded using all live instrumentation, even though it was electronically produced. The creation of the Eat Your Heart Out label saw a move to a much more electronic-sounding approach with comparatively subdued vocals over synthesized sounds and beats.
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Lewis Corner of Digital Spy gave the song a positive review stating: > Despite already having two chart-toppers to his name, John Newman recently > told us that he "constantly wants more". It's a necessary determination to > have in today's cut-throat music industry and is made slightly easier when > there's plenty of talent to back it up with. The last we heard from the > Yorkshire crooner he was asking his beau for forgiveness over perky brass > and rattling breakbeats, but the tables have seemingly turned on his latest > offering. "But if you're cheating, cheat on, yeah/ 'Cause cheating's just > the thing you do," Newman coolly notes over spry horns and Italo piano > lines, before the sass levels are elevated by a soulful gospel choir by the > song's end.
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Jenkinson said of Plug's track "Military Jazz," "This track came on and, amongst the road noise and chatter, I heard what I thought was some sort of hip-hop track being played by a band. As the track progressed, I became more intrigued, as it sounded like they were trying to play as if it had been programmed. Then the Amen [break] came in, and I was floored; it sounded like a drummer playing breakbeats, and made me totally rethink my ideas of programming breaks." Jenkinson's first recordings came out under his own name, with the Stereotype E.P. on the Nothings Clear label in 1994, which was financed by Jenkinson himself, alongside his friend Hardy Finn, the latter of whom would go on to found the Spymania label.
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According to Ann Powers of Slate, the music is a departure from the revivalist rock of Alabama Shakes, instead exploring a cross between jazz, funk, and soul. Writing for Uproxx, Steven Hyden says Howard abandons typical rock-band dynamics in favor of "darker, weirder, groovier, and more psychedelic" sounds, making it difficult to categorize the album simply as rock, R&B;, or jazz. On the other hand, Consequence of Sound explicitly classifies Jaime as a synth- rock album. Pitchforks Sheldon Pearce also observes synth-rock, although in rapid form among other elements, such as experimental psychedelic funk, old school hip hop breakbeats, and tight jazz sounds reminiscent of D'Angelo's 2012 album Black Messiah; his colleague Jillian Mapes also compares the work to D'Angelo as well as Prince and The Roots.
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According to their website at Universal Music Japan, their catch phrase is "Rock 'n' Breakbeats with Four Microphones". One notable characteristic is that none of the members have ever shown their faces in the public sphere as a part of GReeeeN, whether in their promotional videos, CDs, television performances, or the Internet. In their only performance on TV-U Fukushima's music show Music Bar Palo Palo (broadcast on January 19, 2007), the group even went as far as censoring their faces during the performance. GReeeeN cites keeping their professional lives in dentistry compatible with their musical ventures as the reason, but one of the members, Hide, has hinted that after all of the members pass the prefectural examination in dentistry and receive permission from the directors of the hospitals they work for, the group may consider a public appearance.
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" The large amount of percussive breakbeats, as is common with contemporary dance music, augment Bannett's pipe and fiddle playing throughout, though the electronic beats are mostly unobtrusive, allowing the fiddles and pipes more room to permeate. Other electronic sounds on the album include ambient textures like in that of contemporary electronica, including modem-style squeals and micro-processed winds. Described by Bennett as "a party tune with a pile of twaddle over the top," the opening "Tongues of Kali" is an upbeat number flavoured by Punjabi music, and contains funky grooves, bagpipes, sitar and "DJ tinged mayhem." It starts with thick vocal gargling, keyboard work and percussion which journalist Scott Frampton compared to the sound of "someone whacking a caber tosser's thigh," before the appearance of a house hi-hat rhythm and later a "sort of Gaelic scat.
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When Streets of Rage's development began in 1990, Koshiro was influenced by electronic dance music, or club music, specifically techno and house music, and wanted to be the first to introduce those sounds to chiptune and video game music. Many tracks also have a warm, Caribbean quality, and the soundtrack shows the influence of contemporary R&B; and hip hop music; Yuzo Koshiro said that he was influenced by black music, which was growing together with house and techno, so he "naturally began to think about taking them all in." He was particularly influenced by "the swinging rhythms that characterized breakbeats," especially the "ground beat" (used in Soul II Soul's "Keep On Movin'" in 1988 and Enigma's "Sadeness (Part I)" in 1989) which inspired "The Street of Rage" title track. Other artists who influenced him include Black Box, Maxi Priest and Caron Wheeler around the time of composing.
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The third song, "Beta Male Strategies", is a pop rap-oriented noise rap song with "manipulated vocal sample, hand claps, rave-ready drums, and a smidge of guitar" which confronts and pokes fun at the alt-right and internet trolls. The instrumental "JPEGMafia Type Beat" is an Atari Teenage Riot homage, which critics interpreted as ridiculing "type beats" in contemporary hip hop production and his comparisons to Blackie and, more frequently, Death Grips. "Grimy Waifu" is a mellow guitar-backed singer-songwriter downtempo ode to a gun disguised as a love song, inspired by his time spent in the military; it is followed by "PTSD", an anxious song backed by murky synths and breakbeats "channeling his military past". "Rap Grow Old & Die x No Child Left Behind" references Bobby Brown and Michael Jackson to mock whitewashing in the music industry, where he also sings about "the unfair cycle of society".
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The big beat scene had started to gradually decline in popularity by 2001, due to the novelty of the genre's formula fading. The genre's most successful acts would alter their sound further, more prominently, The Chemical Brothers releasing more material with direct house and techno characteristics (including "4x4" beats which resemble those of house and synthesizer sweeps and noises, marking a departure from their big beat sound consisting of syncopated breakbeats and hip hop samples) inspired by the success of the Gatecrasher club and the trance movement, which would reach a commercial peak between 1999 and 2002. However, big beat had left an indelible mark on popular music as an indigenous progression from rave music, bridging a divide between clubbers and indie rock fans. Without this connection, some have reasoned that it would not have reached the heights that it did, or resonated with as many listeners as it did.
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In the mid-2000s, each member of the collective had established himself as part of Michigan’s independent music scene. Knoxville and J-Fab gained national recognition following the success of Jim Jones’ Summer Wit’ Miami - produced by Knoxville. J-Fab was selected to produce on former Shady Records artist Stat Quo's debut album, Statlanta. The goal of The Olympicks’ partnership was to create a “one- stop shop” that could cater to the production needs of any artist or project based on the different qualities of each member. Knoxville is considered to be the team’s “crate-digger,” and produces a sound which tends to incorporate soul samples and breakbeats. J-Fab’s production technique also makes heavy utilization of record samples, but uses more pop and techno influences to create various sounds across multiple genres. Finally, Flawless crafts universal R&B;/Pop beats that are prevalent in today’s mainstream music. The Olympicks have worked with both established mainstream artists as well as local and underground artists.
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" He concluded that "Shooglenifty are one of the foremost groups in the 'cool Celt' genera, and I suspect will be so for some time to come now that they have the often difficult third album out of the way. Their musical journey is always that of discovery, as each album appears and I've had time to analyse the contents, my mind moves to where they may take us to next?" Dave Sleger of Allmusic rated the album four stars out of five and said that "clearly progressive can imply many things in popular music, but Shooglenifty should not be haphazardly lumped into the predictable prog camps, as their music really defies categorization." Songlines said the album contained "gorgeous melodies allied with killer grooves, an equal appetite for cutting edge clubland stylings and traditional dance forms," whilst Sight & Sound says it shows the band "taking their blend of traditional Scottish tunes, samples and breakbeats to further extremes.
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321 relatively slow and lyrical reggae-derived basslines, breakbeats (often cut-up using breaks such as the Amen break), and other heavily syncopated percussive loops. According to Tim Haslett of CMJ New Music Monthly in his review of Law of the Jungle, described the original jungle sound present on the album as "constructed of sped-up drum breaks from '70s funk records from everyone to James Brown to Jimmy Castor and Hermann Kelly." New York Magazine meanwhile described its influence from hip hop and "dancehall, dub and techno music that's distinguished by a frantic speed, a deep, detached bass pulse and a staicky surface of radio sound bites and unintelligble ragamuffin-style vocals," citing the genre's similarity to "early punk rock–at least in its tempo, noise levels and desired effect on the more conservative segments of British society." While jungle music's underground spread was large in its native United Kingdom, it was "slowly but surely" reaching North America, where much of the music was unavailable.
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Atari Teenage Riot's sound was characterised by the use of breakbeats (again sampled from funk and rap, but replayed at more than twice their original speeds), heavy guitar riffs, and the shouting of politically driven lyrics and slogans by the band members (as well as sampled dialogue). Empire provided much of the musical direction, and with the later input of Japanese-American noise musician Nic Endo, the ATR sound took on a more chaotic, arrhythmic nature marked by rough sequencing, improvised mixing and extended "noise-fests". In his words, this complex style was intended to "destroy" the "simulated harmony" of the mainstream electronic music, and that, besides their protest lyrics, "riot sound produce riots". Empire, who is straight edge, also stated that it was a reaction to both the fashion- victimized and drug-fueled nihilism of the rave scene of the 1990s, once saying that "You can't read or do anything else while listening to our music." ATR signed a record deal with Phonogram, a major UK label, in 1993.
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From contemporary reviews, the NME stated that the album was Ice-T's "best shot yet; riotous vignettes from a decaying America full of devious humour and striking pathos – all those things NWA profess to be but clearly aren't." The review commented on the album's production stating Afrika Islam production as "slamming" noting that "the music is always restlessly inventive in catering for your solar plexus (even on the hardcore/Heavy Metal crossover token track) – complements highlights like the sad, droning 'The Tower', the optimistic 'Escape From The Killing Fields' (a scathing re-write of Public Enemy's 'Black Steel In The Hour Of Chaos' that explains the original metaphor) and the out-of-character bad-tempered 'Lifestyles Of The Rich And Infamous'". Select gave the album a negative review, stating that three tracks "Mind Over Matter", "The Tower" and "The House" are outstanding while "much of the rest relies on a well-tested recipe of looped breakbeats and linear drums." and that the album's themes function "better as manifesto than as music".
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In the late 1980s and early 1990s, a growing nightclub and overnight outdoor event culture gave birth to new genres in the rave scene including breakbeat hardcore, darkcore, and hardcore jungle, which combined sampled syncopated beats, or breakbeats, and other samples from a wide range of different musical genres and, occasionally, samples of music, dialogue and effects from films and television programmes. From as early as 1991, tracks were beginning to strip away some of the heavier sampling and "hardcore noises" and create more bassline and breakbeat led tracks. Some tracks increasingly took their influence from reggae and this style would become known as hardcore jungle (later to become simply jungle), whilst darkcore (with producers such as Goldie, Doc Scott, 4hero, and 2 Bad Mice) were experimenting with sounds and creating a blueprint for drum and bass, especially noticeable by late 1993. By 1994, jungle had begun to gain mainstream popularity, and fans of the music (often referred to as junglists) became a more recognisable part of youth subculture.
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The album was based on the work of photographer Maya Hayuk (who commissioned 11 pictures based on three short stories recounting the journey from birth to death), and conceived by Swinscoe as the premise for the score of an imaginary film. Album track "To Build a Home" became one of Ninja's top tracks of all time (with its fan video clocking up nearly 9 million plays), and track "TBAH" features vocals from Patrick Watson, which became the band's most successful song. Following Jason Swinscoe's vocal appreciation of Jaga Jazzist's 2001 album A Livingroom Hush, the Norwegian jazz band signed to Ninja Tune to re- release A Livingroom Hush in 2002, followed by The Stix later that year, and their fourth album What We Must in 2005. Coldcut returned with the single "Everything Is Under Control" at the end of 2005, featuring Jon Spencer (of Jon Spencer Blues Explosion) and Mike Ladd. It was followed in 2006 by their fifth studio album Sound Mirrors, which was quoted as being "one of the most vital and imaginative records Jon More and Matt Black have ever made", and saw the duo "continue, impressively, to find new ways to present political statements through a gamut of pristine electronics and breakbeats".
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