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1REAL ░▄▄▄▄ ▄ ▄ ▄▄█░ PRESENTS
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Aphex Twin vs. Luke Vibert - Live On 626 Mix
RIPPER...: 1REAL TEAM GRABBER..: Soundforge 6
RIP DATE.: 12.01.2003 QUALITY..: 192kbps/44.1kHz
ENCODER..: LAME 3.92 GENRE....: Electronic
SOURCE...: Radio YEAR.....: 2003
TRACKS...: 01 LABEL....: n/a
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APHEX TWIN:
Richard D. James was born on August 18, 1971, in
Cornwall, England. As a child, Richard was fascinated
with sound. Fascinated in a way that most musical
prodigies aren't, or as he may come to represent a new
precedent, didn't used to be. He wasn't only interested
in the standard definition of music per se(i.e.
harmonies, melodies, conventional structures, etc.), but
also in the otherworldy textures possible to create
through technology.
Experimenting with computers, sequencers, keyboards and
reel-to-reel tape, he was inventing his own synthesizers
by the age of thirteen, and recording his own material
by, at most, the age of fourteen, if not sooner.
Throughout his teens, he created hundreds of electronic
works, purely for his own pleasure. As he grew, he held
several menial jobs, including ditch digging.
But he no doubt kept the dream alive that he would one
day be a professional musician. And indeed, he had begun
to D.J. in his home town, garnering serious attention.
In 1991, at the age of 20, his first recording was
released. It was called "Analogue Bubblebath" and was a
collaboration between him and a friend, Tom Middleton,
under the name AFX(subseqent AFX releases were done by
James alone) and was very well received critically, and
more importantly, in the all-powerful dance clubs of
England, who had never heard anything quite like the
four song E.P. In 1992, he released his first
full-length recording, under the name Aphex Twin. And it
is a recording which should have changed music history,
and was critically hailed, making many critics' annual
top ten lists. The name of it was "Selected Ambient
Works "85-92", and featured many recordings he had done
as a teenager. As the nineties progressed, he
took on many different psuedonyms, including Polygon
Window, Caustic Window and GAK. This added to his
already mysterious persona, built on such things as
owning an army tank and driving it around the
countryside, and playing a gig once using only
sandpaper, a food mixer, a microphone and a record
player. These antics petrified some, while intriguing
others. All the while, his reputation grew, enhanced by
his prolific output: able to record four to five songs a
day, and releasing multiple albums during a year. He was
known almost as well for his live shows and D.J. gigs,
sometimes receiving standing ovations,and in the
mid-nineties, touring with Bjork. And in the
midst of all this, he still had time to co-found a
record label, Rephlex, and record re-mixes for dozens of
artists, including Beck and Nine Inch Nails. As the
nineties began to come to a close, he - strangely enough
- seemed to grow weary of possible stardom. Not long
after his video "Come To Daddy" was receiving
considerable airplay, he announced that he was
considering retiring, and instead, focusing on running
the record label, and recording only for himself, once
again. He has proved this to be true, releasing very
little new material in the last four years.
Aphex Twin's music may be described simply as fusing
highly imaginative, emotional electronic music with a
decidedly experimental edge, but this only begins to
describe it. Aphex Twin is one of the great unheralded
genuis' of our time, easily as important to
electonica/techno as the Beatles are to rock, as Miles
Davis and John Coltrane are to Jazz, and as Mozart and
Stravinsky are to classical. In fact, Aphex Twin has
been compared to Mozart. He has claimed that his major
influence is Karlheinz Stockhausen's first record, and
bears little resemblance to anyone else. He can be hard
and abrasive, soft and beautiful, or incomparably
experimental, sometimes all at once. He has pop(softer
tracks)and rock(harder tracks)appeal, and
demonstrates the complexity of traditional classical and
the minimalism of modern classical, while retaining the
freedom of structure of jazz. Why this man isn't a
household name is a wonder to me. Never marketed to a
high degree, no one deserves to be heard more than Aphex
Twin. I promise that if you have an open mind and love
great music, Aphex Twin will reward you with a listening
pleasure like none you have ever experienced. Your
heart, mind and body will merge, and you will realize
that you are in the presence of a one-of-a-kind genius.
I hope that I have convinced you to at least give Aphex
Twin a try. I would recommend the following four albums
as starting points, preferably the first two.
"Selected Ambient Works 85-92" - (Do not confuse this
with Selected Ambient Works Vol. 2) This is an
out-of-print import album, but if you can find it, its
well worth the twenty bucks(or more) you will have to
spend on it(because its an import). This is undoubtedly
the best introduction to Aphex Twin. It features some of
the most lovely electronic music ever recorded, easily
as important as The Beatles' "Sgt. Pepper's Lonely
Hearts Club Band", Miles Davis' "Kind Of Blue", or
Stravinsky's "The Rite Of Spring". This is available at
some stores, but you may have to order it there or
on-line.(More info at the bottom).
"...I Care Because You Do" - If you can't find the
previously mentioned album, this is the next best thing,
and shows more breadth of style than just about any of
his releases, while maintaining a remarkable
consistancy.
Hard, soft, experimental; its all on this one. It's a
great album too, though perhaps not as classic as
"85-92". It's available at most stores, or they can
order it.
"Richard D. James Album" - This is Aphex's foray into
jungle, and would be a good starting point, if you
absolutely can't find the other two, and features some
of his most pop-oriented music. Leave it to Richard to
redefine jungle in his own image. It is widely
available, as well.
"Selected Ambient Works Vol. 2" - The reason you don't
want to confuse the two, is that besides the title, they
have very little in common. The first release is beauty
personified, while this one features dark, experimental,
mimimalist techno. It's sort of anti-new age music.
Artistically, its one of his most important releases,
but is not a good starting point for the unitiated. I
would definitely wait to purchase this one, until you've
at least have time to listen to one of the others
mentioned.
Other - Beyond that, feel free to dive in once you know
you like him. There are dozens of his brilliant releses
out there, waiting for your
appreciation.
LUKE VIBERT:
This Falmouth, Cornwall, England-based DJ has recorded
under several pseudonyms, the most famous of which is
Wagon Christ. Like his friend the Aphex Twin, with whom
Vibert is a near-neighbour, this is another artist
interested in pushing the possibilities of electronica,
despite his musical origins as a drummer in a punk band.
Vibert was first attracted to the possibilities of dance
music in the late 80s. Another bedroom experimentalist,
he recorded a techno album for Rephlex Records (as
Vibert & Simmonds) before joining the Rising High
Records roster shortly afterwards. Vibert released two
disparate Wagon Christ albums for Rising High; 1993's
ambient classic Phat Lab Nightmare, and 1995's hip-hop
workout Throbbing Punch. Confirming his reputation as an
artist who refuses to limit himself to any single style,
Vibert released sample-heavy solo material for Mo' Wax
Records and also inaugurated the drum 'n' bass project
Plug. He returned to the Wagon Christ moniker for 1998's
Tally Ho!, before collaborating with the UK's leading
steel-guitar player B.J. Cole on Stop The Panic. He
switched to the Ninja Tune Records label for 2001's
Wagon Christ set, Musipal. Vibert has also undertaken
remix work for Nine Inch Nails, Pitchshifter, Moloko,
Howie B., and Meat Beat Manifesto.
Discography:
as Vibert & Simmonds Weir (Rephlex 1994), as Wagon
Christ Phat Lab Nightmare (Rising High 1994), as Wagon
Christ Throbbing Pouch (Rising High 1995), as Plug Drum
'n' Bass For Papa (Blue Planet/Nothing 1996), Big Soup
(Mo' Wax 1997), as Wagon Christ Tally Ho!
(Virgin/Astralwerks 1998), with B.J. Cole Stop The Panic
(Law & Auder 1999), as Wagon Christ Musipal (Ninja Tune
2001).
I hope you enjoy this "soundclash" as much as i did when
i was recording it.
greetz
TEAM 1REAL
http://www.aphextwin.nu
http://www.theiceberg.com/artist/28345/luke_vibert
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01. Live On 626 Mix SAT 12-01-2003 : 55:20
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TOTAL TIME : 55:20 min TOTAL SIZE : 76,0 MB
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▀██▓█████████████████▓███▓██▀ GROUP NOTES ▀███████▓▓█████████████████▓██▀
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1REAL /1-REE-ILL/ n. 1 a group dedicated to bringing you
the best in electronic live performances. cd's. vinyls.
It's been a long time since we've updated this part of
the nfo, probably because we dont have much to say here.
We still don't. We probably never will. Our goals are
still there, as are we, and all of our members.
Our standards haven't dropped, they're higher than ever.
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▀██▓█████████████████▓███▓██▀ ABOUT ▀███████▓▓█████████████████▓██▀
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1REAL might be looking for new members, you never know.
We might have a public channel, we dont have a web site,
and we definately dont have an e-mail address.
If you feel you have something to contribute, and want
to be part of an open-minded, electronic focused group
with plenty tall blonde swedish girls, come and find us.
Disclaimer: Certain information in this NFO could be
considered false advertising,
please dont hold it against us.
- TEAM 1REAL
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[01-09-2002] ▀██▓▀ ▀███▀
Files
Path
Size
[BMW]-[Electronic-2003]-(76.0 MB in 1 files of 192kbps Joint stereo)-[