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▄▄▄▄▄▄▄ ▄ ██ PROUDLY PRESENTS ██ ▄ ▄▄▄▄▄▄▄
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ARTiST.... : Audio Bullys
TiTLE..... : Essential Mix-SAT-03-26
GENRE..... : Electronic
SUBGENRE.. : n/a
SOURCE.... : Radio
RELDATE... : Mar-27-2010
AiRDATE... : Mar-27-2010
TRACKS.... : 01
LENGTH.... : 119:35 min
SiZE...... : 140,1 MB
QUALiTY... : VBRkbps
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▀█▄▄███████ ▄▀▀ :: T R A C K L I S T :: ▀▀▄ ███████▄▄█▀
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Nr Name Time
- -------------------------------------------------------------- -
01. Essential_Mix-SAT-03-26-2010 119:35
- -------------------------------------------------------------- -
- --- total > 119:3t
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░ ▀██████ ▀▄ :: R E L N O T E S :: ▄▀ ██████▀ ░
▀▀▀██▄▄ ▀ ▀ ▄▄██▀▀▀
▀▀ ■ ■ ▀▀
Name: Audio Bullys
Music Style: House, Breaks, Hip-Hop
Website: http://www.audiobullys.co.uk/
Outlar-Listed Events: 7
Outlar Cross-references: Leftfield, Armand Van Helden,
Erick Morillo
Audio Bullys Intro: Audio Bullys in the area: the sound
of two young West Londoners that have grown up raving to
the basslines of hardcore, garage and house. At 22 and 24
they acknowledge the influence of The Specials and The
Beatles as readily as they do Todd Edwards and Masters At
Work.
Simon Franks and Tom Dinsdale's debut album takes in
everything from ska and punk, to funk and UK garage- this
is house music with the easy lad-ish charm of Squeeze or
Madness, sub-bass beats that tell you to do more than
just raise your hands. The raucous energy and streetwise
swagger of tracks like "We Don't Care" and "Ego War" show
a young band that blends the amphetamine dynamism of The
Who with the wry social commentary of The Kinks, and
combines it with the ribcage-bending thump of UK club
culture. The track "Real Life" sums up the same
breathless explosion of urban pop energy The Happy
Mondays had with "Wrote For Luck" or The Specials' had
with "Too Much Too Young"- but wrapped up in the dirty
grooves born out of lives misspent coming up in house and
garage raves and coming down listening to pirate radio
stations.
"Hit The Ceiling" heads straight from the bar to the
dancefloor, a mixture of funk with punk attitude, like
Armand Van Helden facing off with Jimmy Pursey. "Intro"
brings back the straight up funk, but adds a shuffling
boogie groove. "The Tyson Shuffle" punches like Lennox,
with an off-kilter quasi-ragga riddim announcing a
tragi-comic ambulance chase through deserted city
streets. Clash fans take note: this is Armageddon Time
for 2003. In dub.
So why Audio Bullys? Tom and Simon had both been making
music for a couple of years- straight up house, garage,
and a few bootlegs they'd prefer to take the fifth on.
"We just decided to spend time working together," they
explain, in a give-it-a-go kind of way. The results of
the experiment were anything but disappointing. ""I Go To
Your House" and "We Don't Care" were both made very early
on and there was definitely a sound there that fitted the
Audio Bullys name so it all rolled from there."
Audio Bullys compel you to rake over the coals of new
wave, ska, and punk for reference points: it seems odd
for a band whose members were both barely born in 1980.
But name checking Bob Dylan and Blondie, Biggie Smalls
and Method Man next to early hardcore and jungle tunes,
songwriter Simon has no prejudices about when and where
music has come from. "I've always been different to my
mates in that they don't really listen to old music,"
says Simon. "But it's too good innit? You get people who
say they only like one type of music, but I reckon you
can't love music that much if you're like that. The
Specials were something I started listening to when I
started to make music and was thinking about how someone
like me could put across stuff in his songs that was
relevant to me and young men and women."
Simon's lyrics tell small-scale tales of young urban
life: micro sagas of street corners and party politics.
"We write songs about everyday life," explains Simon,
"just what you get up to. Try to tell a little story,
about what you see around you."
"We just write songs about the things that have happened
to us at the time," explains Tom. "We Don't Care" is
influenced by our friend who died, but others come from
somewhere when we're in a good mood, jokes, just let it
happen. There's no agenda for any one track - we're not
trying to make a deep house tune just something that goes
with the mood." Hence a track like the searing "The Snow"
can sum up the kind of Suburban coke nightmare that's
already an everyday occurrence in most UK and US cities,
but that most artists prefer to sweep under the carpet.
While "I Go To Your House" and "Hit The Ceiling" might be
the nearest they come to a love song, they both deal with
Suburban dating politics and romance with a refreshingly
real straight from the shoulder honesty.
Simon grew up in a musical household, with a
guitar-playing, song-writing father encouraging him to
play piano and drums from an early age. "It was my
drumming teacher who showed me how easy it was to put
together a track out of samples," he says. Fuelled by
jungle and house, garage pirate radio stations and raves-
he was set on a mission to make beats.
Tom, the DJ half of the Bullys, had his decks at 16 and
was a resident at London club Milk N' 2 Sugars when he
was 17. "I went from house into hardcore and back into
house again," recalls Tom. Tom has more recently been
spotted devastating the dancefloor at the City Rockers
club night in London, mixing The Kinks over Leftfield's
'Phat Planet'. "I play a lot of my own stuff now,"
explains the shy superstar DJ in waiting. "A bootleg of
something here or there, house, hip hop. I'm not too
worried about clinical production as long as it works."
It's the same shouldn't-work-but-does dot-joining
exercise that informs their songwriting. The desire to
marry the meaningless nonsense of George Clinton's early
80s electronic funk sagas or a Suburban Base record to
the wider concerns of a band. Dance music made without
recourse to the rulebook, reflecting both an ear for a
classic hook and an eye for the dilemmas of life as a
young man growing up in London.
When everyone seems to be proclaiming the death of the
music industry, Audio Bullys are two kids still
refreshingly hooked on both buying and making records. On
taking a short lifetime's worth of music and recycling it
into the freshest sound we'll get this year. It don't
matter who you know. Cause THIS is real life.
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▄█▀▀ ▄▀▀ :: G R E E T i N G S :: ▀▀▄ ▀▀█▄
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To all the people who respect us and like what we produce,
no names needed here, you know who you are :)
You got something to say? E-mail us at: eyeforaneye@hush.com
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