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▄▓▀▀ ▀████▓▄█▓▓▓███▓█▓▀▀▀ TEAM RNS PRESENTS ▄■ ▐█▄▓██
▀ ▀██░▐██▀▀ ▐█▄ ▄██▌ ▄██▌░█▌
▀ ▄▄ ▀█▄▀██▄▄████▌ARTIST: Freq Nasty ▐████▄███▀▄█▀ ▄▄
▄██▌ ▀▓▄▀██▄▀▀▀ ▀▀▀▄██▀▄▓▀ ▐██▄
█████▄ ▐█▌▐███▄ TITLE: Bring Me The Head Of Freq ▄███▌▐█▌ ▄█████
███████▄▄▄▓░ ▓█████ Nasty ██████▄░▓▄▄▄███████
▀█████▓▄▄▄█▐▓█████▌ LABEL: Skint ▐█████▓▌█▄▄▄▓█████▀
▀▀████▀▀▄██████▀ ▀██████▄▀▀████▀▀
▄▄▀▀ ▄██████▀ RIPPER: Team RNS ▀██████▄
▄ ▀ ▄██████▀ ▀██████▄
▄█▓▀ ▄██████▀ ▀██████▄
██▌ ▐██████▌ ▐██████▌
▀██▄ ▐██████ 192kbps - Beat ▐▓█████▌
▀██▄ ▀█████▌ 0hr 56min total- 81.1mb ██████▀
▄▄▀▀███▄▄▀▀███▄ ███▓▀▀
█▓ ▀▀██▄ ▀██▄ RELEASE DATE: 2003-00-00 ██▀
▀▓▄ ▐██▌ ▐██▓▄ RIP DATE: 2003-10-13 ▄██▌
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█████▌ ▄█▓█ ▐███ ▐█████
▀█████▄ ▄▓██▓ ▓██▓ ▄█████▀
▀▀███████▀ track list ▀███████▀▓▄▄▄
▄▄▄ ▀▀██▄ ---------- ▄██▀▀■ ▀████▄
▄████▀▀▀▄ ▐██▓ 01 Come Let Me Know (Feat. Rodney 4:30 ▓██▌ ▐▌ ▐████
▐████▌ ▄▄▓▓█▓▌ P.) ▐▓█▓▓▄ ▀█▄▄▄███▀
▀████▄▄▄▄███████▀ 02 Fresh 3:25 ▀█████▄ ▀▀▀
▀▀███▀▄█████▀ 03 Boomba Clat (Feat. Roots 5:30 ▀█████▄
▄█████▀ ▀▄▄ Manuva & Yolanda) ▄▄▀ ▀█████▄
▐█████ ▐█▓ 04 Amped 4:15 ▓█▌ █████▌
█████▌ ███▌ 05 Brooklyn To Brixton (Feat. 4:48 ▐███ ▐█████
▀█████▄ ▓██▓ Kovas) ▓██▓ ▄█████▀
▀▀███████▀ 06 Sil Num Tao 5:08 ▀█████████
▀▀██▄ 07 Clit Licka 6:01 ▄██▀▀███ ▀ ▄
▄▄▄▄▄ ▐██▓ 08 Punkadelic 4:37 ▓██▌ ████▄ ▄█▌
▀ ▀▀███▄ ▄▓▓█▓▌ 09 Goose 3:43 ▐▓█▓▓▄ ▀███████▀
▐███▌▄█████▀ 10 2 Females 3:58 ▀█████▄ ▀▀▀
▄ ▄███▄█████▀ 11 La Machina Latina 3:41 ▀█████▄
▀▀███▀██████▀ ▀▄▄ 12 Mad Situation 6:38 ▄▄▀ ▀█████▄
▐█████ ▐█▓ ▓█▌ █████▌
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▀█████▄ ▓██▓ ▓██▓ ▄█████▀
▀▀███████▀ ▀███████▀▓▄▄▄
▄▄▄ ▀▀██▄ release notes ▄██▀▀■ ▀████▄
▄████▀▀▀▄ ▐██▓ ▓██▌ ▐▌ ▐████
▐████▌ ▄▄▓▓█▓▌ It's the Freq-in' weekend, baby were ▐▓█▓▓▄ ▀█▄▄▄███▀
▀████▄▄▄▄███████▀ about to have us some fun. New Zealand ▀█████▄ ▀▀▀
▀▀███▀▄█████▀ ex-pat Darin Mcfadyen - Freq Nasty to ▀█████▄
▄█████▀ ▀▄▄ anyone who's felt the width of his ▄▄▀ ▀█████▄
▐█████ ▐█▓ basslines on dancefloors round the ▓█▌ █████▌
█████▌ ███▌ world - knows well that the shifting ▐███ ▐█████
▀█████▄ ▓██▓ patterns of culture mean fun by the ton ▓██▓ ▄█████▀
▀▀███████▀ in 2003. Bring Me The Head Of Freq ▀█████████
▀▀██▄ Nasty', his first album for Brighton's ▄██▀▀███ ▀ ▄
▄▄▄▄▄ ▐██▓ Skint Records and the second of his ▓██▌ ████▄ ▄█▌
▀ ▀▀███▄ ▄▓▓█▓▌ career, impacts right into the rubble ▐▓█▓▓▄ ▀███████▀
▐███▌▄█████▀ of dance music, where genre distinctions ▀█████▄ ▀▀▀
▄ ▄███▄█████▀ are collapsing, monopolies toppling and ▀█████▄
▀▀███▀██████▀ ▀▄▄ orthodoxies disintegrating on an hourly ▄▄▀ ▀█████▄
▐█████ ▐█▓ basis. Which is a good thing. Freq ▓█▌ █████▌
█████▌ ███▌ Nasty is the walking paradox the ▐███ ▐█████
▀█████▄ ▓██▓ proves the death of dance music' is the ▓██▓ ▄█████▀
▀▀███████▀ best thing that's ever happened to it. ▀███████▀▓▄▄▄
▄▄▄ ▀▀██▄ Bring Me The Head Of Freq Nasty,' arrives ▄██▀▀■ ▀████▄
▄████▀▀▀▄ ▐██▓ at a time when nomenclature has never ▓██▌ ▐▌ ▐████
▐████▌ ▄▄▓▓█▓▌ been a more useless device: bashment, ▐▓█▓▓▄ ▀█▄▄▄███▀
▀████▄▄▄▄███████▀ breaks, hip hop, garage, techno and drum ▀█████▄ ▀▀▀
▀▀███▀▄█████▀ & bass are identifiable components of an ▀█████▄
▄█████▀ ▀▄▄ album that is defin *ed by none of the ▄▄▀ ▀█████▄
▐█████ ▐█▓ above. It's a genre-transcending ▓█▌ █████▌
█████▌ ███▌ palette of raw music whose pluralism ▐███ ▐█████
▀█████▄ ▓██▓ mirrors exactly the fundamental shifts ▓██▓ ▄█████▀
▀▀███████▀ taking place in the world around. Urban ▀█████████
▀▀██▄ futurist music - that's what I get off ▄██▀▀███ ▀ ▄
▄▄▄▄▄ ▐██▓ on,' Darin says. Music that's a ▓██▌ ████▄ ▄█▌
▀ ▀▀███▄ ▄▓▓█▓▌ reflection of cities like London where ▐▓█▓▓▄ ▀███████▀
▐███▌▄█████▀ a lot of different folk are doing their ▀█████▄ ▀▀▀
▄ ▄███▄█████▀ best to get on and there's a lot of ▀█████▄
▀▀███▀██████▀ ▀▄▄ friction.' ▄▄▀ ▀█████▄
▐█████ ▐█▓ ▓█▌ █████▌
█████▌ ███▌ For the last 12 years, Darin Mcfadyen ▐███ ▐█████
▀█████▄ ▓██▓ been tinkering with the back end of ▓██▓ ▄█████▀
▀▀███████▀ rave culture and carving radical aural ▀███████▀▓▄▄▄
▄▄▄ ▀▀██▄ geometry out of uncut bassline material ▄██▀▀■ ▀████▄
▄████▀▀▀▄ ▐██▓ and diamond-tipped breakbeats. In zones ▓██▌ ▐▌ ▐████
▐████▌ ▄▄▓▓█▓▌ like Peckham, Brixton, Whitechapel, ▐▓█▓▓▄ ▀█▄▄▄███▀
▀████▄▄▄▄███████▀ where human interaction is at is most ▀█████▄ ▀▀▀
▀▀███▀▄█████▀ raw and hungry, Freq Nasty has been ▀█████▄
▄█████▀ ▀▄▄ crafting the sound inner-city danger and ▄▄▀ ▀█████▄
▐█████ ▐█▓ excitement onto some of the toughest ▓█▌ █████▌
█████▌ ███▌ dancefloor music of the millennium. ▐███ ▐█████
▀█████▄ ▓██▓ ▓██▓ ▄█████▀
▀▀███████▀ In 1991 he arrived in Britain from New ▀█████████
▀▀██▄ Zealand via Australia with a one-way ▄██▀▀███ ▀ ▄
▄▄▄▄▄ ▐██▓ ticket and burning ambition to make the ▓██▌ ████▄ ▄█▌
▀ ▀▀███▄ ▄▓▓█▓▌ music of tomorrow's world. He'd been in ▐▓█▓▓▄ ▀███████▀
▐███▌▄█████▀ bands at school and a devout student of ▀█████▄ ▀▀▀
▄ ▄███▄█████▀ t he Akia Zen since he was a teenager. ▀█████▄
▀▀███▀██████▀ ▀▄▄ Twelve years ago he stepped off the 747 ▄▄▀ ▀█████▄
▐█████ ▐█▓ as Darin Mcfadyen - a lean, ▓█▌ █████▌
█████▌ ███▌ mocha-skinned six-footer with dreads ▐███ ▐█████
▀█████▄ ▓██▓ grown below his waist - immersed ▓██▓ ▄█████▀
▀▀███████▀ himself into the raging elementalism of ▀███████▀▓▄▄▄
▄▄▄ ▀▀██▄ the drum & bass scene, and emerged, dazed ▄██▀▀■ ▀████▄
▄████▀▀▀▄ ▐██▓ and enthused, as Freq Nasty. ▓██▌ ▐▌ ▐████
▐████▌ ▄▄▓▓█▓▌ ▐▓█▓▓▄ ▀█▄▄▄███▀
▀████▄▄▄▄███████▀ I was involved in jungle by chance,' ▀█████▄ ▀▀▀
▀▀███▀▄█████▀ Darin says. Vini XXX had started the Motif ▀█████▄
▄█████▀ ▀▄▄ and Sour labels, and Botchit & Scarper ▄▄▀ ▀█████▄
▐█████ ▐█▓ was a quirky offshoot. Jungle was the ▓█▌ █████▌
█████▌ ███▌ freshest shit at the time. I had come ▐███ ▐█████
▀█████▄ ▓██▓ from a funk and hip hop background and ▓██▓ ▄█████▀
▀▀███████▀ was looking for a sound: breakbeat was ▀█████████
▀▀██▄ it. Expect no one was calling it that.' ▄██▀▀███ ▀ ▄
▄▄▄▄▄ ▐██▓ ▓██▌ ████▄ ▄█▌
▀ ▀▀███▄ ▄▓▓█▓▌ Back when jungle was still jungle, ▐▓█▓▓▄ ▀███████▀
▐███▌▄█████▀ prior to its upwardly-mobile rebranding ▀█████▄ ▀▀▀
▄ ▄███▄█████▀ as drum & bass', Vini's visionary imprint ▀█████▄
▀▀███▀██████▀ ▀▄▄ began producing music that rolled with ▄▄▀ ▀█████▄
▐█████ ▐█▓ the same rough-edged attitude and ▓█▌ █████▌
█████▌ ███▌ dynamism as drum and bass, but at a ▐███ ▐█████
▀█████▄ ▓██▓ more moderate, club-friendly tempo - ▓██▓ ▄█████▀
▀▀███████▀ Breakbeat' was born. Whatever the ▀███████▀▓▄▄▄
▄▄▄ ▀▀██▄ music's origins, Freq Nasty rapidly ▄██▀▀■ ▀████▄
▄████▀▀▀▄ ▐██▓ established himself as one of the ▓██▌ ▐▌ ▐████
▐████▌ ▄▄▓▓█▓▌ scene's pioneers, producing instant ▐▓█▓▓▄ ▀█▄▄▄███▀
▀████▄▄▄▄███████▀ classic after instant classic with ▀█████▄ ▀▀▀
▀▀███▀▄█████▀ studio partner Blim: tracks like Boomin ▀█████▄
▄█████▀ ▀▄▄ Back Atcha' and Revolution Inc' from his ▄▄▀ ▀█████▄
▐█████ ▐█▓ debut LP, Freqs, Geeks & Mutilations'. ▓█▌ █████▌
█████▌ ███▌ As breakbeat flourished into its own ▐███ ▐█████
▀█████▄ ▓██▓ autonomous milieu of DJs, clubs, ▓██▓ ▄█████▀
▀▀███████▀ production techniques and musical ▀█████████
▀▀██▄ v