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Jamaica To Toronto: Studio One

The history of Studio One and every Kingston recording hut and soundsystem of the '60s has been told many times through Soul Jazz and Trojan Records compilations. But while their liner-note scribes venture into every nook and cranny of the music's fascinating history, their stories all seem to end in Jamaica. Read more » 

Breakcore: Live Fast

What defines the current breakcore scene–a style and community rising from the ashes of gabber, noise, breaks, and ragga jungle–is what doesn't define it. Even Jace Clayton (DJ /rupture), who's known for his erudite commentary, can only describe it in vague terms. "It was this amazing danceable noise with some kinda reggae bass/base to it," he writes of the first time he heard breakcore scene pioneer DJ Scud play at one of the Soundlab parties in New York.


Mylo's Artist Tips

After a couple of years of being held up in copyright limbo, Mylo's Destroy Rock & Roll (Breastfed/RCA) finally found a Stateside release–albeit with a few changes. The electro/pop/techno/rock masterpiece required quite a bit of retooling. Samples from Boy Meets Girl's "Waiting for a Star to Fall" and Kim Carnes' "Bette Davis Eyes" had to be flat-out re-recorded to skirt US copyright laws. Read more » 

Andy Dixon: Glitch Professional

An article about Andy Dixon could go in a number of directions. Previously manning the guitar for d.b.s. and The Red Light Sting, the one-man maelstrom now flexes his musical muscles with Winning (a three-piece noise project) and Secret Mommy (his critically acclaimed alter-ego). Ache Records, Dixon's label, has put out influential records by the likes of Flössin and Konono No. 1 (the vinyl-only release), as well as creating Div/orce, an ongoing series of 7"s from the likes of Hella, Four Tet, and Hrvatski.


Matthew Herbert: The Finest Allusion

Matthew Herbert is no stranger to offbeat recording techniques. On records like 2001's Bodily Functions (!K7) and last year's Plat du Jour (Accidental), he sampled everything from heartbeats to crushed Starbucks cups and wove them into bumptious micro-house, languid electronic ballads, and melodic jazz. Read more » 

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