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 »
Before 29-year-olds Julian Hamilton and Kim Moyes were The Presets, they were studying piano and percussion, respectively, at Sydney's Conservatorium of Music. And, like most arty kids rebelling against the system (in this case a hard-core regimen of music composition and theory), the pair also had an experimental band in the works. "Prop was instrumental music with vibraphones and marimbas and keyboards," explains Hamilton. "It was a bit like Tortoise. You know, music for the soul, instrumental, film-scorey, 'meaningful' music."
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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.
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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 »
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.
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