Kabuki-Signal_to_Noise-CORE022CD-2004-sour-int
NFO
- INTERNAL RELEASE - INTERNAL RELEASE - INTERNAL RELEASE - INTERNAL RELEASE -
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`-----------------------:----' : design.by.ant1k
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: : release no ( 7022-int ) ( Internal Release ) \ rating |
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: : artist (Kabuki ) | .---. |
: : title (Signal to Noise ) | 0 | | |
: : record label (Combination (CORE022CD) ) | 9 |%%%| |
: : genre (Drum & Bass ) | 8 |%%%| |
: : release date (2004/03/09) | 7 |%%%| |
: : street date (2004/03/??) | 6 |%%%| |
: : | 5 |%%%| |
: : media type vinyl ( ) tape ( ) cd (x) radio ( ) | 4 |%%%| |
: : cover sfv m3u cover ( ) sfv (x) m3u (x) cue ( ) | 3 |%%%| |
: : | 2 |%%%| |
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: : :.: (12 tracks) (1:05:41 h) ( 99,3 mb) | `---' |
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nr times track titles
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| 01 6:07 Kabuki - Transworld |
| 02 5:46 Kabuki - Sexdrive |
| 03 6:10 Kabuki - Speed of Sound |
| 04 5:01 Kabuki - Implant |
| 05 5:18 Kabuki - Lizard |
| 06 5:24 Kabuki - Ghosthack |
| 07 4:32 Kabuki - After the Fire (Altern. Vers.) |
| 08 6:07 Kabuki - The Way I Swing (Rmx) |
| 09 5:29 Kabuki - Logic Bomb |
| 10 5:54 Kabuki - Spend the Night (Rmx) |
| 11 5:00 Kabuki - Pacemaker |
| 12 4:53 Kabuki - Shibuya Nightlife |
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| | | |
| | Imagine someone is standing in the centre of | |
| | an imaginary musical big bang. All components | |
| | one would be able to compose something from | |
| | and from which most people would later say: | |
| | ônow that is musicô, fly all around him, | |
| | passing him by. So a never ending stream of | |
| | acoustic information û weÆll keep it simple û | |
| | blows away in time and space and tries to | |
| | become as loud and big as possible. This is | |
| | where we speak of din, racket, the white | |
| | whoosh, noise! | |
| | Imagine this man is a composer. He is fast | |
| | and dynamic, but he also possesses a clear | |
| | mind and he is balanced, rushing to grasp | |
| | every piece of information he can get. He | |
| | arranges the sounds three dimensionally, | |
| | organically and playfully, but transparent | |
| | and with a sturdy precision. Yes, it is | |
| | rather arranging the elements, a technical | |
| | drawing, than painting. The manÆs name is | |
| | Kabuki and he challenges the noise, he sets | |
| | the signals and selects he information, as an | |
| | opponent to entropy, the striving for the | |
| | biggest possible chaos. The process is called | |
| | Signal to noise, the actual album. The power | |
| | of the big bang maintains. | |
| | | |
| | æWhen I am producing for | |
| | Kabuki-the-solo-artist, I compose drum&bass | |
| | tunes especially for my record case. I donÆt | |
| | really feel to play dirty amens, but I also | |
| | dislike to play intellectually abstract. That | |
| | is why I always look for the pieces that | |
| | mediate the deepness I want to have on my | |
| | set.Æ | |
| | | |
| | That was four years ago, when Kabuki decided | |
| | to produce solo drum&bass tracks to fill up | |
| | the gaps in his sets, beside his successful | |
| | projects Makai and Megashira. Indeed, Kabuki | |
| | tracks are very melodious, without neglecting | |
| | to rock the dance floor. KabukiÆs partner | |
| | Mainframe is the engineer in all projects Jan | |
| | Henning is a part of. Mainframe takes care of | |
| | the warm and clear sound that still is so | |
| | pressing you canÆt separate a slower track | |
| | from a 170 bpm. | |
| | | |
| | These off beat tracks, with which Kabuki has | |
| | created himself another compositional | |
| | freedom, have made him to one of the hottest | |
| | and most futuristic artists offside | |
| | drum&bass. | |
| | | |
| | ÆI have a strong affinity with smooth tracks | |
| | that still take off. It is my goal to combine | |
| | a raw Detroit/garage sound with drum&bass.Æ | |
| | | |
| | Especially the Detroit parts in his to | |
| | house/techno speed kind of tracks, made | |
| | free-style sets a must, because they always | |
| | bear in mind the dance floor and | |
| | functionality. | |
| | DeBug described Kabuki as a ôcinematic | |
| | minimalistô, a very poignant description when | |
| | it comes to the work and ambivalence of his | |
| | music: big cinema with lots of ingredients, | |
| | but very sharp and precisely set, with | |
| | minimal shifts reaching the biggest possible | |
| | effects. There always seems to be a lot of | |
| | room between the chords, the beats and the | |
| | basses, despite the denseness of the music. | |
| | The synths Kabuki uses to make melodious | |
| | sinuses or to refer to Detroit, are timeless | |
| | and cannot be placed in one special epoch | |
| | (please note, no 80s!). They donÆt have a | |
| | passed-by-date and the signals donÆt belong | |
| | to one particular genre. DonÆt limit his | |
| | music on a superficial basis. | |
| | | |
| | Kabuki always allows the sun to come in with | |
| | his music, despite the spirit that rules. In | |
| | doing this, he unites two worlds: the high | |
| | speed intensity for the dance floor, | |
| | following the dance diction but at the same | |
| | time the warmth and compulsory nature of pop | |
| | and soul. It is the bridge between technology | |
| | and the organic. It is lonely at this | |
| | mountain top for Kabuki. He doesnÆt like to | |
| | exaggerate and if it has to be rock, than | |
| | only with a funk that likes to be just that, | |
| | with a playful monotony nobody has been able | |
| | to copy until now. Layer after layer the | |
| | pieces build up, without ever being full or | |
| | overloaded. A master of reduction and variety | |
| | at the same time. It is KabukiÆs gift to be | |
| | able to give every sound and every moment in | |
| | his music an inalienable place. To compare | |
| | Kabuki tracks with anything alike, would mean | |
| | to roam around the world: it will be | |
| | difficult to find. Kabuki music is elegant | |
| | and perfectly edited, like songs from Steely | |
| | Da. It is also glamorous and funky like John | |
| | Tejada`s techno. This, just to explain the | |
| | wide range of KabukiÆs music and to name two | |
| | artists from entirely different worlds that | |
| | Kabuki unites on this album - as it seems | |
| | only on the sideline - the classical pop song | |
| | and the classical functional dance floor | |
| | track. | |
| | Because of songs like After The Fire (feat. | |
| | Cleveland Watkiss), Sexdrive (feat. Vikter | |
| | Duplaix) or Lizard (feat. Fat Jon) he | |
| | absolutely strikes a pose as a serious artist | |
| | in the global pop circus, born in the | |
| | classical music world and raised in the | |
| | intensity hell of the parallel drum&bass | |
| | universe. Pop music in his own language, | |
| | obliging enough to find docking possibilities | |
| | for anyone who is addicted to any kind of | |
| | club music. | |
| | | |
| | During the past 4 years, 35 compositions and | |
| | remixes emerged that were released on labels | |
| | like Precision, Spectrum Works, Sonar | |
| | Kollektiv, Best Seven Head To Toe, to name a | |
| | few. The decision to compile older and more | |
| | recent tracks to a new album didnÆt take us | |
| | long, as all these tracks only appeared on | |
| | vinyl at the time and were therefore only | |
| | accessible to a small group of experts and | |
| | deejays. The album also is a time document: | |
| | an album against forgetfulness, a compilation | |
| | for those who drown in the format flooding. | |
| | The format of the future is the single. Not | |
| | as an actual real sound carrier, but as a | |
| | downloadable option. That is why in this | |
| | transitory phase, in which all formats cd, | |
| | vinyl or MP3 are or can be used equally, the | |
| | decision to release an album that collects | |
| | singles and remixes of one artist is a | |
| | logical step to take. | |
| | Signal to noise also means: the filtering and | |
| | choosing of the best information: the most | |
| | beautiful tracks and best songs on the | |
| | classical expression format of a music | |
| | artist: the album. | |
| | Combination being the label for his solo | |
| | album was a logical decision, for us, but | |
| | also for Kabuki. He wanted to publish on a | |
| | label that on the in- and outside doesnÆt tie | |
| | itself down on one particular genre, but is | |
| | somewhere in the middle: the label he already | |
| | joined with two of his tracks: on the | |
| | compilations Traffic I and II. | |
| | | |
| | [taken from the label site] | |
| | | |
| | Why an -int? | |
| | | |
| | 1. this one deserves to be in the sour | |
| | collection | |
| | | |
| | 2. its ripped in vbr | |
| | | |
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: :
__. ____ _____ ____ __. ..............
\ |___( _ /_\ _/_\__ )_\ |___ .......... : : :
/ | / /___/ | / _ | | / : : : : | . :
| | | | | | | | | | | : : : : | | |
.--| | | | | | | | | | |----------------------------------+--+--+---.
| | | | | | | | | | | | d i s c l a i m e r : . : |
`--| | | | | | | | | | |----------------------------------+--+--+---'
| | | | | | | | | | | : :........: : : | | |
|__|__|_____|_____|_____|_____| :.. . :............: . | :
:... :
.-----------------------------------------------------------------------------.
| |
| This release may contain copyrighted material, however SOUR guarantees |
| that this material was at least available to one person "on the street" |
| and that the possession of this material is in no way privileged. |
| |
| SOUR has been releasing good quality drum'n'bass, jungle & oldskool rips to |
| the internet drum'n'bass public since summer 1999. Originally a small |
| operation, we have now reached levels of international acclaim. |
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| public, and our rips are intended to reflect these ideals. Specifically: |
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| available to buy. If you like something you hear, you are obliged to |
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| |
| . SOUR is dedicated to the expansion of the online and offline real world |
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...... /____________________|
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[ sour productions(c) 1999-2004 ]
- INTERNAL RELEASE - INTERNAL RELEASE - INTERNAL RELEASE - INTERNAL RELEASE -
Files
| Path | Size |
|---|---|
| 01-kabuki-transworld-sour.mp3 | 8,32 MB |
| 02-kabuki-sexdrive-sour.mp3 | 9,13 MB |
| 03-kabuki-speed_of_sound-sour.mp3 | 9,49 MB |
| 04-kabuki-implant-sour.mp3 | 8,13 MB |
| 05-kabuki-lizard-sour.mp3 | 7,63 MB |
| 06-kabuki-ghosthack-sour.mp3 | 8,28 MB |
| 07-kabuki-after_the_fire_(altern_vers_)-sour.mp3 | 6,54 MB |
| 08-kabuki-the_way_i_swing_(rmx)-sour.mp3 | 9,21 MB |
| 09-kabuki-logic_bomb-sour.mp3 | 8,35 MB |
| 10-kabuki-spend_the_night_(rmx)-sour.mp3 | 8,95 MB |
| 11-kabuki-pacemaker-sour.mp3 | 7,66 MB |
| 12-kabuki-shibuya_nightlife-sour.mp3 | 7,59 MB |