Name: DJ Spooky
Album: Haunted Battle Breaks
Year: 1998
Style: Hiphop/Triphop, DJ, Electronic, Experimental
Similar Bands: Tricky, X-ecutioners, Jurassic 5, Cut Chemist, DJ Shadow, Badawi, Aphex Twin
One Word Review: Haunting Collage of Steady Break Beats.
Based Out Of: Washington DC
Label: Liquid Sky Music, Home Entertainment
Haunted Battle Breaks - Cover, Record
Haunted Battle Breaks - Back, Record
Haunted Battle Breaks (1998)Album Rating (1-10): 5.0
Members & Other Bands:
Paul D'Shonne Miller (DJ Spooky / That Subliminal Kid) - Writer, Composer, Producer, Performer (the Alchemist)
Dan Yashiv - Engineer
Chris Flam - Compiler (Matthew Shipp)
Unknown-ness: I had heard of DJ Spooky, but I am not familiar with his music or style (or even that familiar with his genre). Figured I'd pick this up when I saw it in a thrift store and see if it was interesting at all.
Album Review: DJ Spooky, AKA That Subliminal Kid (name taken from the William S Burroughs book “Nova Express,” is a DC native, and has been making experimental, electronic music and spinning trip hop since 1996. As he has flown somewhat under the radar, he has worked with a great many people, is the executive editor of Origin Magazine (Art, Music, Humanitarianism, Sustainability, etc.) and is a professor of music/meditated art at the European Graduate School.
Since are no song
tracks or names, I’ll be reviewing the album in full, with the style breaks
where I can figure them out.
The record starts
with a couple of samples scratched. Starting with vocals and flowing into a hip
hop song. Then a steady drum-cymbal-woodblock hip hop beat flows steadily. My knowledge
of this genre and other examples of it is depressingly low, so I’ll just equate
this to a Beastie Boys rhythm for about 3 min.
The beat and rhythm becomes funkier, pulsing jazz horn, akin to James Brown. The beat is skipped and scratched rhythmically, and other funky “Fatboy Slim” effects are thrown over top, like a swirling Doppler effect, and bucket drum beats.
The “third” section begins with another vocal sample scratching, followed by repeating eerie space effects. A skipping bass heavy drumbeat stutters and hobbles along in tip-hop style.
Part four begins with scrabbling, paper crunching effects that birth a muddled, back skipping drum beat.
The beat and rhythm becomes funkier, pulsing jazz horn, akin to James Brown. The beat is skipped and scratched rhythmically, and other funky “Fatboy Slim” effects are thrown over top, like a swirling Doppler effect, and bucket drum beats.
The “third” section begins with another vocal sample scratching, followed by repeating eerie space effects. A skipping bass heavy drumbeat stutters and hobbles along in tip-hop style.
Part four begins with scrabbling, paper crunching effects that birth a muddled, back skipping drum beat.
The next shift
begins with some eerie horror movie atmospheric notes, and after a bit of skip-scratching, bombards the
listener with an energetic, in your face, skittering drum beat. It ends with an Atari-like bomb-drop trill.
Section six is
slow moving at first, sounding like static electricity focused through a
zoob-tube. The sound grows and fades, and halts suddenly,
Shifting to what
could be called a war-scape. A windy echoing void is filled with artillery
fire, non-steady percussion and chimes that fade in and out on repeat.
More vocal and
song samples begin the next track, with “We Gonna Get Ya” followed by voices,
some with a beat, followed by a flat siren. Chaotic samples feed in one after
another, with popping bubbles filling the space along with screams, quotes, footfalls
and other war-oriented effects. Basically, the track comes off like channel
surfing, but has a unifying, underlying meaning. This is basically an audio
collage. Crowd cheers bleeds into electronic pulses that begin phase two of the
collage. There are some haunted themes, along with war, and hip hop that make
up the overall soundscape.
Side B starts
with gunshots, bubbles and a haunted organ. More channel surfing effects like
an old modem dial-up and hip-hop lines transition to a steady, jazzy dance-hop beat
with some punctuating synth breaks.
A light breezy
hook, followed by a vocal quote leads into another drum and racket ball beat.
Some tape rewind
effects lead to a jazzy background to accompany an olde-timey vocal, which is
then supported by old-time music, like a broken down take me out to the ball
game and other rewinding effects.
This short
segment is then replaced by a darker drum beat, with an echoing shock-synth
break effect. Second verse incorporates funky bass, various classic hip hop samples:
scratches and vocal samples. It ends abruptly, and some scratching intros the
next track.
More tape
rewinding effects are featured, and a couple haunting vocals, which leads to a steady,
haunting reggae beat. It stops abruptly
Pipe percussion
comes on next, and is replaced by a jazz-heavy, high hat drum beat. Thicker
bass beats are added overtop, and the song cruises along steadily.
The song shifts,
and an echo-fading sad siren repeats high and low octaves, supported by a back
skipping, trippy drum beat. The beats
stop for a moment, but kick back in after one combo-rep of the siren.
The last track is
not too much different than the one right before it, but the production is more
industrial, and the deep bass rumbling percussion bubbles along, replacing the
octave shifting siren. The whole album ends with a sudden halt of all
instrumentation.
Stand Out track: A-5 (or A-6?)
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