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sonicorganisms · 10 years ago

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The Film Scores Of Jed Kurzel

There is very little written about Australian musician Jed Kurzel and his film scores, despite receiving the APRA/AGSC ‘Best Feature Film Score’ award in 2011 for Snowtown, directed by brother – Justin Kurzel, and also being nominated for the Screen Music Awards – ‘Best Original Score’ award for Dead Europe (2012), an adaptation of Christos Tsiolkas’ novel - directed by Tony Krawitz and most recently nominated for ‘Best Soundtrack/Score for Horror’ award in UK for Jennifer Kent’s The Babadook (2014). Kurzel is most notably recognized for his work as frontman of the Australian rock duo – The Mess Hall, which had to take sideline temporarily for his new workload with soundtracks. Kurzel’s foray into scoring began with a collection of independent documentaries and short films, but the strength of those eventually lead actress Claudia Karvan to ask Kurzel to compose a few tracks for the television series Spirited, eventually encouraging an entire score. When tackling film music - to avoid blurring into the cliché ‘wallpaper sound’ of most scores, Kurzel ticks off the things he doesn’t want to do or hear. (Kurzel, 2014) The result: an unconventional path, of instinct and curiosity. The reward: pieces of music that are unique - blending mechanical pulsing feedback loops with slight to sharp striking guitars, and brooding ambient drones. Kurzel engages the audience by building on recurring themes, adding and subtracting layers of minimalist textures to match the level of suspense and drama. I will talk about the three films he has scored (so far) in depth in terms of engagement and effectiveness.

Jed had been working on certain projects for a while with his brother Justin, who had directed all of The Mess Hall video clips and when Justin was putting the pieces together for his first feature film Snowtown, it was always the idea that Jed would do the music. (Smith, M. 2012) The film is based on the crimes of notorious Australian serial killer, John Bunting and the murders that took place around the area of Snowtown, South Australia. The Kurzel brothers grew up thirty minutes away from where the majority of the murders took place, and though the score doesn’t follow any immediate emotional context, it adheres to an overall atmosphere and mood that Jed felt. (Teague, 2014)

“It's almost like that [mood] was probably sitting there in the ether since I was a kid.

I don't think I've approached anything musically the same way, before or since. So there's a kind of personal element to it that I don't quite understand and don't particularly want to. Also, there’s this sense for me that, as a kid looking out at this landscape and just looking at the hills and the drives out through those areas, to Snowtown or whatever, at some point there must have been some kinds of sound going on in my head. There was colour, at least. That was tapped into somehow. There must have been some sort of tone going on through all of this, if you were looking at it all day.” (Kurzel, 2014)

Kurzel became enveloped in the film’s background and spent months reading into the story, and watching news footage and when it came to recording the music, he made sure he was aware of not referencing or being influenced by other film scores, because it needed to be solely about the one environment.

It begins with an underlying fast beating pulse at around 180bpm, decorated with the signature wall of ambient drones and woven polyrhythmic guitar chimes. Kurzel knew that he needed to create a piece that was strong enough to hold the whole thing together and return and evolve slightly each time and put a stamp on the entire film. (Kurzel 2011) The sounds, although very alien sounding, definitely reflect the sparse environment, and alarming undercurrent of doom and tension. A strong sense of unease is created by the repetition of the throbbing feedback loops and heavily reverberated guitar sounds that shift from soft bell-like chimes to something evoking the screeching brake sounds that trains make as they scrape against the tracks.

Jed was fortunate that he was collaborating with his own brother on the film, who was very trusting and open to ideas and it allowed him to say things that any composer would love to say to a director without getting fired. Justin remarks that Jed’s score became so influential that it provoked a new beginning and end to the film. (Kurzel, 2011) The tense and claustrophobic pulse provided an intimate perspective of the lead character Jamie’s descent into Hell and was vital to the psychological journey of the film.

In 2012, Kurzel composed the score for Dead Europe, once again exploring a recurring theme and stamping a mood into the film, this time about a man traveling through 21st century Europe. The main character Isaac travels to lay his father to rest and realizes his family has been cursed. Dead Europe has about four persistent themes made up of drone loops and long sustained sharp gleaming guitar notes with heavy delay and reverb. The main significant memorable motif comes from a piano playing a slow 4/4 melody with the notes on the 1 & 2 only. As the tension builds in the film the eerie sound-scapes tie in closely with the menacing sound design by Sam Petty, which at times is difficult to distinguish where the two sonic elements separate. An oscillating synthesizer is introduced into this score that whirs and throbs – hinting at the supernatural subject matter with a soft timpani subliminally providing unsettling horror. As the main character is in the thick of Europe, a sense of rhythm becomes more apparent and an acoustic guitar appears to mirror the vibes of the gypsy countries and cities he passes through. This is further depicted in a montage scene, which plays a chiming medieval riff that incorporates a sense of the main characters Greek heritage. When the film takes a darker turn, the dread is more steadily present in the music with string scrapes, reversed guitar feedback spikes and monotonous bass plucks with elevated percussiveness showing that a drum is not necessary to add a beat to invoke suspense. The extremely mechanical summation of textures peak and lull creating utmost tension for a climax amid echo feedback loops decorated with weaving ambiences blending and bickering together. The music cuts to a bare sustained wave with varying depth of vibrato and drops out to complete silence as we find that the main character has been killed. Credits roll to a traditional fingerpicked guitar track in ¾ reminiscent of European culture.

The Babadook in 2014 was another dark psychological horror perfectly suited for Kurzels approach to composition. Kurzel clarifies that while he isn’t pedantic about any genre, he is however drawn to interesting films and directors with strong visions and more than likely will head for the black notes first when picking up an instrument. (Dejasu, 2014) Kurzel read the script and appreciated Kent’s unique take on the genre, which was more in line with the style of horror that he enjoys most, like Rosemary’s Baby (1968) or the Italian Giallo films where the horror is indirect. The Babadook is about a recently widowed mother, Amelia and her son with behavioural issues, facing the fear of a mythical storybook character called Mister Babadook.

“The music is very much a part of Amelia’s psychological state. It’s like a tap that slowly releases the monster. We were more interested in a quiet creeping horror, where the music plays the unknown entity, messes with your imagination and gets under your skin. I remember having conversations with Jen about steering clear of the usual horror tropes with regard to music. Things like string stabs, etc. are neat tricks, but they’re such a part of the language these days that, for me personally, they’re no longer scary. They give the audience a compass and tell them where to be frightened. Those kinds of films are thrilling while you’re in there but they wont follow you home afterwards.” (Kurzel, 2014)

When asked if he incorporated any unusual sounds into the score Kurzel explained that he likes to use tonal elements that allude to sound design and when he was writing and recording for The Babadook, a microphone was setup in the room which was always on, and with no prompting, his four-year-old daughter Ginger spontaneously started to sing into it. Jed was inspired and hit record, he then ran some chopped edits of her multi-tracked voice through a series of delays.

"I love it when this kind of thing happens, keeping your ears pricked for happy accidents. Sometimes I like to play back my music outside at night, and see how the environment affects it, whether its a braking truck from a distant highway or a neighbourhood cat moaning in heat, it can all be inspiring if it’s in the right key." (Kurzel, 2014)

The journey into the beginning of the film is very bleak, with lots of sharp sound design - but no score until panic takes hold. A rising dissonant drone adds tension and hints towards the increasing frantic mood, and then finally the main theme enters after 12 minutes. New to Kurzels repertoire is the creepy music-box that plays the recurring motif, a phrase which ascends and descends with a slap delay accompanied by a fast whirring guitar drenched in delay and reverb. The melodic theme weaves in and out of different droning dissonant sound-scapes, which the director frequently cuts abruptly to silence for tension, when we are led to believe the Babadook is nearby. The second, more haunting piece features a synthesizer drone with varying delay feedback intensity and pitch shifting. Mechanical loops made from echo feedback are looped in layers and guitar chords are introduced moving in small steps to further illustrate the psychotic nature. The first scene where the audience witnesses the boy actually observing The Babadook, is where we hear the ghostly vocal cameo provided by Kurzels daughter. A pulsating industrial undertow (made by feeding a bunch of noise into an echo unit and recording the lengthened feedback) is contributing to the frantic-ness, and agitation - layered with howling wind, low monotonous bass and guitar harmonic plucks. The metallic music box instrument enters into the forefront with a slight variation and now features a booming drum. – doom is closer. The Babadook has entered the mothers’ head and she has become neurotic and wants to kill the young boy. We hear throbbing rumbles, beating heart sounds, ascending eerie chime sounds and chopped snippets of the motif, in addition to the spine-tingling broken mechanical insect sound representing the Babadooks presence.

Jed Kurzel’s distinct sounds are extremely effective in stamping themes of panic, suspense or just plain old unease, but can also capture and provoke lucid nostalgias or faint reveries. The signature wailing guitars drenched in reverb among distressing chunks of looped noise and intelligent, intricate weaving of ambient drones and piercing feedback make Kurzel's pieces extremely valuable to any director yearning to turn heads and abolish stereotypes. Jed is currently working on his brother’s sophomore feature, the highly anticipated Macbeth, undoubtedly employing his fine skill-set to augment and embellish the film which is based on the darkest and most powerful of Shakespearian tales.

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REFERENCE

Smith, M. 2012. The Music. Don’t Mess With History [interview]. Street Press Australia, AU. Viewed 13th November 2014 <http://themusic.com.au/interviews/all/2012/07/10/the-mess-hall-jed-kurzel/>

Dejasu, B.L. 2014, Scoring Horror, Interview with Jed Kurzel [Interview], Cinema Knife Fight, AU. Viewed 13th November 2014 <http://khpbooks.com/cinemaknifefight/scoring-horror-interview-jed-kerzel/>

Kurzel, J. 2011, APRA/AGSC Screen Music Awards – Best Feature Film Score Acceptance Speech, Youtube. Viewed 15th November 2014 https://www.youtube.com/watch?v=x-nTsn3LMPQ

Kurzel, J. 2011, News Unlimited, Jed Kurzel’s Snowtown, Wordpress, AU Viewed 13th November 2014 <http://newsunlimited.com.au/2011/05/new-release-jed-kurzels-snowtown-soundtrack/>

Kurzel, J. 2011, Asahi Beer: Silver Sessions #10, Jed Kurzel, Youtube, Viewed 14th November 2014 <https://www.youtube.com/watch?v=CHp_lqo4CV4>

Nash, C. 2014, Film Ink, A Dangerous Soundscape, FKP Universal Exports, AU. Viewed November 13th 2014, <http://www.filmink.com.au/features/a-dangerous-soundscape/>

Teague, M. 2014, The Vine, ‘I don’t see it as being morbid’ [interview], Fairfax Media, AU. Viewed 12th November 2014. <http://www.thevine.com.au/music/interviews/jed-kurzel-snowtown-live-i-dont-see-it-as-being-morbid-20140530-281913/>

Zuel, B. 2011, Sydney Morning Herald, Into Screen and Out of Comfort Zone, Fairfax Media, AU. Viewed 13th November 2014 http://www.smh.com.au/entertainment/music/into-screen-and-out-of-comfort-zone-20111113-1ndop.html

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BIBLIOGRAPHY

Smith, M. 2012. The Music. Don’t Mess With History [interview]. Street Press Australia. AU. Viewed 13th November 2014 <http://themusic.com.au/interviews/all/2012/07/10/the-mess-hall-jed-kurzel/>

Dejasu, B.L. 2014, Scoring Horror, Interview with Jed Kurzel [Interview], Cinema Knife Fight, AU. Viewed 13th November 2014 <http://khpbooks.com/cinemaknifefight/scoring-horror-interview-jed-kerzel/>

Kurzel, J. 2011, APRA/AGSC Screen Music Awards – Best Feature Film Score Acceptance Speech, Youtube. Viewed 15th November 2014 https://www.youtube.com/watch?v=x-nTsn3LMPQ

Kurzel, J. 2011, News Unlimited, Jed Kurzel’s Snowtown, Wordpress, AU Viewed 13th November 2014 <http://newsunlimited.com.au/2011/05/new-release-jed-kurzels-snowtown-soundtrack/>

Kurzel, J. 2011, Asahi Beer: Silver Sessions #10, Jed Kurzel, Youtube, Viewed 14th November 2014 <https://www.youtube.com/watch?v=CHp_lqo4CV4>

Nash, C. 2014, Film Ink, A Dangerous Soundscape, FKP Universal Exports, AU. Viewed November 13th 2014, <http://www.filmink.com.au/features/a-dangerous-soundscape/>

#JED KURZEL #Snowtown #The Babadook #Dead Europe #Film Music #The Mess Hall

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sonicorganisms · 10 years ago

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Sampling ~The Aynsley Dunbar Retaliation~ [Compare & Contrast]

There is an argument that there is no integrity in the sampling of records, because the ‘artists’ are just taking snippets of another person’s audio to make their arrangements. On the contrary, there are electronic producers that are using the vibes and timbres of old material to make new, interesting pieces of music that are completely incomparable to the original, with unique productions that would have been unimaginable to the initial producer or composer. Some of these albums that were recorded by top producers featuring acclaimed musicians reappear on many tracks by different artists, re-imagined, so that they live on through many new art-forms - inventing imaginative and resourceful ways of creating art and keeping fresh – what may be outdated. This contemporary generation of electronic producers get to have the pleasure of quality engineering, virtuoso musicians recorded with expensive vintage gear, – some of these, well before their time - mixed into their productions at the cost of a record. I will compare examples from five electronic producers and their compositions that feature samples from one record in particular, The Aynsley Dunbar Retaliation’s self-titled debut LP, released in 1969.

Aynsley Dunbar Retaliation was a British Blues band named after its founder, prolific drummer Aynsley Dunbar who played with Jeff Beck, Frank Zappa, Lou Reed, David Bowie, Journey and others, it is also known that he lost a coin flip to Mitch Mitchell deciding who got into The Jimi Hendrix Experience. (Henderson, D. 2003, p. 108-110) It goes without saying, that there is some interesting percussion on the album. Aynsley Dunbar Retaliation was produced by Ian Samwell, an English musician who played guitar in Cliff Richard’s Pre-‘Shadows’ backing band The Drifters, and is best known for writing Richard’s debut hit “Move it”, One of the first Rock n’ Roll hits outside of America. Samwell left the band; however, to focus on composing and producing. He is also known for his association with rock band America, with whom he had a big success producing their hit “A Horse With No Name”, working also with The Small Faces, The Grateful Dead, Frank Zappa, Joni Mitchell, John Mayall, Dusty Springfield and on other Aynsley Dunbar productions. (Radcliffe, M. 2011)

I have identified 3 songs off the album that have been sampled; [Clips Below] Watch ‘n’ Chain – sampled by Amon Tobin, Flying Lotus and DJ Frane. Double Lovin’ – sampled by Bonobo. Memory of Pain – sampled by No I.D. for rapper Common. Other artists in ways that aren’t recognizable may have sampled portions of the album, but these are the only ones noted on WhoSampled.com. (2014)

Early developments of sampling started in the 70’s with the arrival of Hip-Hop. DJ Kool Herc, a Jamaican-born American DJ had discovered the use of ‘Turntablism’, manipulating and creating music with turntables and a mixer. They would typically play Funk, Soul, RnB, Latin or Reggae records for the heavy grooves, buying duplicates to extend ‘breaks’ (parts of the music where everything stops except the percussion) to enable continuous dancing. MC’s or Rappers would rhyme over the top of the DJ’s performances. Artists like Grandmaster Flash, Afrika Bambaataa and Run DMC brought this form of hip hop to the mainstream throughout the 80’s (Katz, M. 2012. p.51) When the 90’s hit, this technique evolved into the use of sampling interfaces that allowed you to plug your record player into it and capture your favourite portions onto a floppy disk to construct your own beats and compose songs. One of the biggest innovations of the time for Hip-Hop producers were the Akai samplers, especially the MPC phrase samplers, which are still being used on albums created today. The MPC let you have the phrases immediately available on a bank of rubber pads, which you could quantize, time-stretch and apply effects to. It became common to collect vinyl in surplus amounts, to ensure you had all the best breaks and ‘Crate’ Diggin’ was a term given to the avid search of desired beats, tones and hooks to have on hand when creativity struck. (Hess, M. 2007 p.94) I will evaluate each sample by first presenting the original track and comparing the elements used in each production that has sampled it. ‘Watch ‘n’ Chain’ (Track 1) is a quirky blues track, built upon a 4/4 beat. The songs narrative is of buying the love of a woman. The central character is offering expensive things so that in return, she will make love to him. A constant kick drum plays on the 1 and ‘a’, just before the 2nd beat giving the song a swing feel (referring to 1-e-&-‘a’-2-e-&-a) with a conga playing ad-lib strikes in between. The main rhythmic element that drives the song is the cowbell, bouncing between quarter notes and eighth notes and the melodic phrases which are whistled with schoolboy-cheek between the verses that subscribe to a traditional blues lyrical pattern of proposition-proposition-resolution, (A-A-B) with call and response.

Amon Tobin, the Brazilian producer first sampled ‘Watch ‘n’ Chain’ in 2000, on his album ‘Supermodified’. His intricate sound-design made him recognized as one of the most influential electronic musicians worldwide and the album outsold the likes of Massive Attack and Bjork on release in Europe and United States. Tobin’s music is made entirely with a sampler, in some cases having up to 80 different samples in the one tune. Tobin states that when he first started, it was about finding a sound that inspired him and then finding more sounds to go with it, “In the past, I’ve taken massive chunks of things, but as time has gone by, for my own integrity and for obvious legal reasons, I have moved away from that. It’s a slightly dubious area for anyone using samplers.” (Sound On Sound, 2003) Using Cubase and a TC Fireworx multi-effects unit, Tobin manipulates the samples heavily to adopt less traditional roles within the mix, sounding out of place – yet complimentary, in a way that the original sample is unrecognizable but the subliminal enchantment remains.

Tobin has taken ‘Watch ‘n’ Chain’s interesting percussive character and given it a very ominous vibe on his composition ‘Saboteur’, using eerie, dark and abrasive sounds. After the first minute, a very complex electronic drum pattern resembling a heavy Drum n Bass rhythm enters. It phase-shifts in and out of the sound realm, sling-shotting the listener with each cycle for 8 repetitions and then leaves to make way for dense cosmic droning and an incomprehensible vocal sample. At the three minute mark Tobin drops the bell sample out for a bridge that introduces cartoon-like horns, double-bass, mechanical grinds and coarse shatters. The listener is immersed in an uncompromising abyss of super-modified Foley, until an apocalyptic arrangement of the samples ride out to the end accompanied by a restless yet gentle guitar riff. ‘Saboteur’ profoundly inflates the original sample tenfold; taking the listener on an incredible journey by just tweaking and arranging found material. A squad of astonishing instrumental hip-hop producers have recently gained acclamation with fascinating compositions using new technology, they are hailed as the L.A. beat scene. These artists are using DJ software Ableton Live or Roland SP samplers, or a combination of the two. One of the most influential of these beat makers is Flying Lotus, stage name for Steven Ellison – grandnephew of jazz pianist Alice Coltrane. Ellison had grown up listening to West Coast Hip-Hop, however his mind was also opened to the avant-garde jazz records that the family played, which is evident in the producers individual production aesthetic. The Flying Lotus piece ‘Camel’ from the 2008 album ‘Los Angeles’ also samples ‘Watch ‘n’ Chain’. ‘Camel’ has a very heavy Hip-Hop vibe, with thick sounding drums that give the song a very jagged feel. Amongst the mix: scratchy vinyl hiss, motorized whirs, abrupt vocal hums and the cowbell sound from our recognized ‘Watch ‘n’ Chain’, chopped and varied slightly. It is unclear whether Ellison was motivated to use the percussive portion in his piece on listening to Amon Tobin’s ‘Saboteur’ or the original; however, the piece is still remarkably unique. Ellison stated that he composed ‘Camel’ in the middle of a heatwave in 2007, (Monick D. 2007) the dry sizzle definitely apparent in the texture that embodies a tribal desert ritual – especially in the bridge where he flips and chops the cowbell sound and adds delay. This builds tension until the music pauses and we hear an individual’s voice struggle to spit a sentence out, cut-off by a drop back into the main rhythmic hook of the song, sent soaring with an airy synth. The represented heat has become so intense that it seems as though everything has melted and all colours have started to fuse together, and then the song ends. ‘Camel’ as vibrant as it is, employs a much darker tone compared to the original blues songs’ cheek; yet still stands apart from the vivid cerebral subway that ‘Saboteur’ sends you down.

The final example that uses ‘Watch ‘n’ Chain’ is another Californian producer, DJ Frane. His piece ‘The Day The Listeners Came’ from the album ‘Journey to the Planet of Birds’ released in 2008, utilizes a more ‘happy-go-lucky’ feel than the prior two examples, with a much more chilled vibe. Sampling only the cowbell and a few audible conga hits, Frane has put the emphasis on the ‘2’ and ‘4’ with a half time feel and added a welcoming piano hook presenting an experience completely different to the other examples.

The next Aynsley Dunbar piece is a moody twelve-bar-blues rock standard in a slow 6/8. ‘Double Lovin’ co-composed with the vocalist Victor Brox, tells the story of a man’s confession to a woman who loves him – that he had been with another woman, and regrets it. He didn’t intend on telling her, but felt she had to know. Each phrase is responded with the howling guitar. The song is very stripped back with a very dry scraping snare and bass in the right speaker and a nylon string acoustic guitar in the left. The vocals and lead electric guitar are in the center, expanded into a large hall reverb.

British musician, DJ and producer Simon Green, better known as stage name Bonobo, captured Brox’s ‘Double Lovin’ crooning vocal for the piece ‘The Plug’ released in 2000 on his Debut album ‘Animal Magic’. Green became one of the pioneers of ‘Downtempo’ electronic music, using similar sampling methods, but adhering to ambient sounds and vibes and ‘The Plug’s instrumentation is all done by Green himself, primarily a bass player. Green introduces a lot of acoustic elements into his mixes and has them reproduced by a full band when he performs live. The track is built upon a bed of electronic drums with interwoven strings, Rhodes, bass, a wind instrument and Victor Brox’s vocal sample, which is slightly distorted. Green has kept the sorrow of the original version of the song intact, but just coloured it to be slightly more reflective. The process of creating a Bonobo song is described in a Computer Music Magazine Masterclass, Green explains that he makes the drums first by sampling old vintage drum machines for e.g. the Roland TR-909, and he finds abstract ambient samples - in this particular case, a synthesizer from a 1970’s Prog-Rock record, which he then drags over the top of his drum sequence and finds patterns which work rhythmically – chopping and editing in Logic DAW. He then adds basic keys, bass and strings using a trial-and-error method to find a chord progression that works. While exploring which of the layers fit best, he will add more atmospheric sounds for colour and textural snippets from random vinyl samples, one noise even coming from an application’s sound effect on his Iphone. (Computer Music, 2010)

The final Aynsley Dunbar Retaliation piece I will compare is a cover of Percy Mayfield’s ‘Memory of Pain’. The rendition is a slow 4/4 blues song framed around a man who sings of remorse for things he had done in the past, leading him to being alone. The phrasing is another traditional blues style, of subject-subject-reason (AAB) with a guitar riff in between each sentence. American producer No I.D. has sampled the guitar riff to use as the backbone for his beat produced for the rapper Common, on his track ‘Raw (How You Like It) which appears on ‘The Dreamer/The Believer’ released in 2011. No I.D. takes two fragments of the riff to play as an Ostinato throughout the track bounding between his hefty Kick and Snare-Crash beat. This piece is the most contrasting, quite difficult to distinguish the original sample. The final audio example, introduces Common’s smug rhymes that weave and drag across the count of each repetition in the forefront of the mix. At the end of the verse, the music cuts and the cymbal’s reverse, to lead into the moneymaking chorus provided by a female vocalist. Two other samples enter at the end of the chorus to give the song a disjointed MPC groove, and then re-enters into the hook featuring the wailing of sirens. This structure of Hip-Hop with strong looped rhythmic samples creates emphasis for the Rap to be hard-hitting and is a traditional element that contributes to the appeal. No I.D. has produced a very powerful inventive beat for this genre, which explains why he has worked with leading figures in contemporary Hip-Hop along the lines of Kanye West, Rihanna and Jay Z.

The examples of these electronic artists, while using very similar methods of composition with related technologies have made attractive productions, each developing a distinct existence. The pieces retain the captivating energy of the original musical phrases, but are reborn into a new realm, moulded with the ingredients of popular music genres to establish a connection with new listeners that may never have heard that the sampled record even existed. By hearing each example in close succession, it lets you pay attention to each artist’s approach to making music, and also seeing the growth and movement of musical genres as a whole. While some hold-fast to conventional ways of creating music, others are constantly on the brink of new ways of utilizing technology and the brain.

TRACKS: The Aynsley Dunbar Retaliation - Watch 'n' Chain:

https://www.youtube.com/watch?v=mhSd1teDuKc

Amon Tobin - Saboteur:

https://www.youtube.com/watch?v=8Hj6jKJ1oqU

Flying Lotus - Camel: https://www.youtube.com/watch?v=fU9YRGLPDQ8 DJ Frane – The Day The Listeners Came: https://www.youtube.com/watch?v=xE-C5Uap0a4

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The Aynsley Dunbar Retaliation – Double Lovin’:

https://www.youtube.com/watch?v=RNBDPQGMje0

Bonobo – The Plug:

https://www.youtube.com/watch?v=0AcczUIjDmQ

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The Aynsley Dunbar Retaliation – Memory Of Pain:

https://www.youtube.com/watch?v=6MzfDZnBh8U

Common – Raw (How You Like It)

https://www.youtube.com/watch?v=vqWo6jJShpY

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REFERENCE

Amon Tobin – Supermodified, 2000, Audio CD, Ninja Tune, UK

Bonobo - Animal Magic, 2000, Audio CD, Tru Thoughts, UK

Common – The Dreamer/The Believer, 2011, Audio CD, Think Common, US

Computer Music Magazine, 2010, Masterclass DVD: Bonobo, Issue 152, Future Publishing, UK

DJ Frane – Journey to the Planet of Birds, 2008, Audio CD, Beats To Blaze To, US

Flying Lotus – Los Angeles, 2008, Audio CD, Warp Records, US

Henderson, D. 2003, ‘Scuse Me While I Kiss The Sky: The Life of Jimi Hendrix, Omnibus Press UK (p. 108-110)

Hess, M. 2007, Is Hip Hop Dead? The Past, Present, and Future of America’s Most Wanted Music, Praeger, USA (p. 94)

Katz, M. 2012, Groove Music: The Art and Culture of the Hip-Hop DJ, Oxford University Press, USA (p.51

Monick, D. 2007, L.A. Record, Flying Lotus: I’m A Computer Man, Homie, L.A. Record, USA, viewed on 21 January 2014 <http://larecord.com/interviews/2007/09/27/flying-lotus-im-a-computer-man-homie>

Peterson, M. 2012, Sound, Space, and the City: Civic Performance in Downtown Los Angeles, University of Pennsylvania Press, USA. (p. 85)

Radcliffe, M. 2011, Reelin’ In The Years: The Soundtrack of a Northern Life, Simon & Schuster, London (p. 3)

The Aynsley Dunbar Retaliation – Self-Titled, 1969, Audio CD, Blue Label/SPV, UK

WhoSampled.com. 2014, Who Sampled – Aynsley Dunbar Retaliation, London, viewed 22 January 2014 <http://www.whosampled.com/The-Aynsley-Dunbar-Retaliation/>

Young, S, 2003, Sound On Sound, Amon Tobin, October, SOS, UK

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BIBLIOGRAPHY

Amon Tobin – Supermodified, 2000, Audio CD, Ninja Tune, UK

Bonobo - Animal Magic, 2000, Audio CD, Tru Thoughts, UK

Common – The Dreamer/The Believer, 2011, Audio CD, Think Common, US

Computer Music Magazine, 2010, Masterclass DVD: Bonobo, Issue 152, Future Publishing, UK

DJ Frane – Journey to the Planet of Birds, 2008, Audio CD, Beats To Blaze To, US

Flying Lotus – Los Angeles, 2008, Audio CD, Warp Records, US

Henderson, D. 2003, ‘Scuse Me While I Kiss The Sky: The Life of Jimi Hendrix, Omnibus Press UK

Hess, M. 2007, Is Hip Hop Dead? The Past, Present, and Future of America’s Most Wanted Music, Praeger, USA

Katz, M. 2012, Groove Music: The Art and Culture of the Hip-Hop DJ, Oxford University Press, USA

Monick, D. 2007, L.A. Record, Flying Lotus: I’m A Computer Man, Homie, L.A. Record, USA, viewed on 21 January 2014 <http://larecord.com/interviews/2007/09/27/flying-lotus-im-a-computer-man-homie>

Peterson, M. 2012, Sound, Space, and the City: Civic Performance in Downtown Los Angeles, University of Pennsylvania Press, USA

Radcliffe, M. 2011, Reelin’ In The Years: The Soundtrack of a Northern Life, Simon & Schuster, London

Schloss, J. G. 2004, Making Beats: The Art of Sample-Based Hip-Hop, Wesleyan University Press, USA

Schwarts, R. F. 2007, How Britain Got The Blues: The Transmission and Reception of American Blues Style, Ashgate, UK

The Aynsley Dunbar Retaliation – Self-Titled, 1969, Audio CD, Blue Label/SPV, UK

WhoSampled.com. 2014, Who Sampled – Aynsley Dunbar Retaliation, London, viewed 22 January 2014 <http://www.whosampled.com/The-Aynsley-Dunbar-Retaliation/>

Young, S, 2003, Sound On Sound, Amon Tobin, October, SOS, UK

#aynsley dunbar #sampling #the aynsley dunbar retaliation #flying lotus #bonobo #dj frane #common #no i.d.#the art of sampling #music production analysis

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