Archive | TImewarped Breakdown

Timewarped Series Breakdown 12 – The Fat Controller – In Complete Darkness (Timewarped)

 

PLEASE READ BEFORE DOWNLOADING

Hi Everyone, and welcome to the latest Timewarp Breakdown. Below this paragraph is the interesting stuff…. Here is a link to the details about the set:

Here is a link to the details about the set:

Supaset 16 Blog Post

Here is the link to the original version:

 

And here is a long post about it with sample links and all that good stuff!

About This Track

This track is basically perfect. By that I mean, it is both basic, and perfect lol. That sounds almost rude, but really its the highest of compliments because I honestly feel that simplicity is perfection. There have been a few tunes over the years that have had the confidence to be both incredibly simple and also extremely powerful. There is this track of course, then there is Ray Keith – The Terrorist…there are a few others but I cannot think of them offhand. They take a very simple sample or idea, and then just let it do its thing. In this case, it is largely a sample from piano genius Rollo, from his Rollo Goes Camping 12″ on Cheeky. Other than that very blatant sample, there is a vocal from Janet Jackson and a few breakbeats and a kick drum. You could say “anyone could have done that” but anyone didn’t, Fat Controller did. That’s important. I hate it when people act like they could have done it – maybe, but if so, why didn’t they? It’s always obvious after the fact, but before it happens, it is not at all obvious. Shit, I had Rollo Goes Camping, I could have made this. Like everyone else, I never thought of it. And anyway, wow, what a tune. Yes, its been played to death, and yes, its dated in some ways, but it is still and essential piece of hardcore history. Perhaps not as important as SMD, but a very close follower, in the company of Nookie, and Liquid Crystal, and a select few others as far as floor destroying piano anthems go.

Like NRG “I Need Your Lovin” this one was made later than the others for the set, but unlike NRG’s track, I always intended to Timewarp this one – you simply can’t make a classic old skool set without it. Well, you can, but I don’t know if you should lol. I left it until later because I already had the pieces and I knew it was a fairly simple composition. I found there was not a lot I had to do really. Toughen the drums, bring the kick out a little more, layer the strings and speed it up. That was it. It was already a perfect piece, all I could do was polish it a little, and bring it up to modern production standards.

Here is all the stuff…

Main Piano Sample:

Vocals:

The Amen Break:

Added By Me:

1) As usual, I took the main track and brought it up to speed (literally and figuratively) by mimicking the original beats, and layering them with percussion and modern production techniques.

2) I layered the strings, and I used eq and modern magic to make them warm, but both the piano and the strings needed very little help from me. Other than sampling them from a digital and therefore crackle free source, they were already beautifully composed.

3) I added a few sound effects, but only a few, along with a few drum fills here and there.

Like the original, my version is pretty strictly simple. It is as good as the source material in that respect, although the original is a product of its time and can’t be beaten. So I am happy with my version – its one of the Timewarps that plays nicely with modern hardcore in a way that, say, Sonz Of A Loop Da Loop Era – Far Out does not. So yeah, I give myself a 5 on a scale of 1-10 with 6 being the highest lol

Nice one,

Luna-C

If you are feeling grateful for all the free tracks, you are welcome to send me a few pennies right here:

Luna-C’s Timewarp Donations

3

Timewarped Series Breakdown 11 – N.R.G – I Need Your Lovin (Timewarped)

 

Hi Everyone, and welcome to the latest Timewarp Breakdown. Below this paragraph is the interesting stuff…. Here is a link to the details about the set:

Supaset 16 Blog Post

 

Here is the link to the original version:

And here is a long post about it with sample links and all that good stuff!

About This Track

I have to confess, this was not my first choice for a Timewarp. I love the tune of course, but I regarded it as a bit of a cop out – it is originally a pretty simple tune, even though both the concept and execution are immaculate, as only N.R.G’s stuff was. I just felt like doing this for one of the time warp tunes was too easy.

Then, about a week before I was due to play the set, I found I was 10 minutes short. I needed some tracks I could Timewarp swiftly. And this one came to mind, along with Dark & Light by Dj Demand and, obviously, Six Days by…err…fuck knows.

Having said that, its a classic tune, and remains one of the best of its era, with a clever choice of lead samples. So off I went and remade it. I actually had a lot of trouble with the stab pattern, and it took a few days to get right, but this was because my ears went wrong lol. I don’t know what happened, I just couldn’t get the noise or the tuning correct.

Also, N.R.G did some fairly clever stuff with the way it sampled the main vocals. Sort of how Austin pitch bent the vocals in Far Out – something you don’t notice because why would you? Its the same with the vocals in this track. There are edits to make the vocals cohesive, but they are not obvious at all until you try to replicate it.

But in the end, this was a relatively simple one to Timewarp.

Here is all the stuff…

Main Vocals:

1, 2, 3, 4 Vocals:

Added By Me:

1) As usual, I took the main track and brought it up to speed (literally and figuratively) by mimicking the original beats, and layering them with percussion and modern production techniques.

2) I layered the stab noise, and I used eq and modern magic to bring out the best elements with all the sounds.

3) I added a bunch of sound effects, but only a few, along with a few drum fills here and there and some sound effects.

I’m pretty happy with how this one came out even though it does deviate from the original version in a number of way and so is not as accurate as it could be. It was a moderate amount of work, easier than some of the others, but with its own challenges unique to itself, mainly because N.R.G was a very professional and exacting producer at a time when most producers were not. I am happy with the result, but I wish I had spent a little more time on it.

Nice one,

Luna-C

If you are on the mailing list, you will have received this track for free. Otherwise, you will have to be friends with someone on the mailing list. These tracks will never be sold by me.

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Timewarped Series Breakdown 10 – Outlander – Vamp (Timewarped)

 

 

Hi Everyone, and welcome to the latest Timewarp Breakdown. Below this paragraph is the interesting stuff….
Here is a link to the details about the set:

Supaset 16 Blog Post

 

Here is the link to the original version:

And here is a long post about it with sample links and all that good stuff!

About This Track

This is easily one of my all time favourite classic tunes. I mean, I say that about all of these Timewarped tracks, and I guess its always true – I sure as hell wouldn’t waste my time remaking something I didn’t love. But this one has numerous memories. For example, I was playing one of the first major PA gigs with Smart Es at the Camden Palace, along with Acen and The Ragga Twins, and before the PA’s I was out in the crowd dancing like a wally, and I have a distinct memory of this track coming in, and when the stab first dropped the MC screamed out “Ouutttllllaaannnddderrrrr” and I had such chills. I also remember it being played at Berwick Manor and Labrynth. It was just a fantastic anthem before anthems became obvious.

There is a lot of what I love about hardcore in this track. Random samples. Vocals that say nothing. Heavy drums – at least for the time. And in Timewarping it, I was surprised at how easily it updated to a modern tune. I mean, there were issues such as the stab needed to be toughened and layered – as did most of the elements. But its structure and sound remain solid and effective on the dance floor, and the version I ended up with sounds very much like the original despite being faster and sonically different. Most of the samples I already had, a few I had to research. For example, I already had the female vocal. I have supplied no link to it, because I don’t know where I got it from lol. Probably a sample LP or acappella album or something, but it was so long ago I have no recollection of where I sourced it originally.

Other samples had to be researched and found. The most tedious of which was actually the countdown. All the NASA launch countdowns are available to download or listen to, so its not difficult to get it. But there are a lot of them. And a lot of them are from various TV channels – so you get the same countdown from a different TV channel and with a different sound quality etc. I ended up listening to, and sampling, pretty much all the Apollo launches, although it is Apollo 11’s launch that was used in the track.

I knew the bongo-ish break was from a very old techno track called The Sound by Reese and Santonio / or from Todd Terry’s Back To The Beat. One of them sampled the other – there is a whole history there to dig into if you are interested and I was, but as ever, it was months ago and I cannot remember who sampled who, only that I sampled it from The Sound.

The rest was more a case of replicating the sounds, and that was made easier by the limited equipment the original was made on – the drum kit was 909 because that was pretty much the only drum kit. So it was a fairly straightforward track to rebuild – a simple and effective timeless classic!

Here is all the stuff…

Countdown Sample:

Classic Lead Stab:

Breakbeat Bongo loop – The Sound:

Added By Me:

1) I layered the beats and percussion, and like with the others, I did my best to add weight and power without changing the personality of the track. I added the breakbeat from 31 Seconds (Valley Of Shadows) and a few other little percussion flourishes.

2) I layers many of the sounds, but some I just used eq and modern magic to bring out the best elements as layering lost even more of the original personality. A VST under the lead stab, for example, but subtly done.

3) I added a bunch of sound effects, but only a few, along with a few drum fills here and there.

4) I recreated the tweeting 303 noise in the intro using the same sound I used for the Acen – Trip To the Moon time warp!

I’m pretty happy with how this one came out. It was a moderate amount of work, easier than some of the others, but it was also very satisfying and I think it came out pretty well.

Nice one,

Luna-C

If you are feeling grateful for all the free tracks, you are welcome to send me a few pennies right here:

Luna-C’s Timewarp Donations

0

Timewarp Series Breakdown 13 – Freestyle & Dj R – Ten 44 (Timewarped By Dj Luna-C)

 

Hi Everyone, and welcome to the latest Timewarp Breakdown. Below this paragraph is the interesting stuff…. Here is a link to the set:

Here is a link to the details about the set:

Supaset 16 Blog Post

 

Here is the link to the original version:

And here is a long post about it with sample links and all that good stuff!

About This Track

One of the things I most love in hardcore is when it expresses the happy / sad / euphoria type of emotion. Theres no real word for it, but the piano line in this track does it perfectly. Ruffage – Paradise is another one that pulls of this unique blend of uplifting and contemplative.

I did not originally intend to timewarp this track, because it just didn’t occur to me. But as the set progressed, I ran into the same issue again and again of not being able to get all the pieces I needed for certain tracks. Often key elements, like the lead vocal, would be unknown to me. So a timewarp would only progress so far before I had to just stop and move on to the next one. I have a whole set of incomplete timewarps sitting in folders, waiting for samples to be discovered. But with this one, as it happened, a long time ago someone had mentioned to me that the piano sample was from The Thompson Twins, a fairly lame 80’s band that specialised in big hair and bleeps. And I knew this to be true, because at the time I loved the piano line so much I wanted to hear the source. So I bought the track on vinyl from a stall in Camden, London – its called “Come Inside”. And its a pretty amazing house tune, on the flip side of a 12″ of one of their more normal pop records.

In a way though, this track should have always been on my list – I play it in almost every old skool set because it is excellent, a guaranteed dance floor filler every time! What I did not have was the “Dubplate Style” sample, but someone sent me that via Facebook upon request. So all that was left to do was make it…which was a fairly easy thing to do compared to some of the others. In fact, the most tricky parts were mimicking the time stretch, and working out the beats. After a lot of searching, I suddenly realised Freestyle & Dj R had just flat out sampled Dj Red Alert & Mike Slammer – In Effect lol. So obvious, but I just didn’t see it for ages. And In Effect sampled Big Daddy Kane for their beats.

It was also very difficult not to include the vocal from the Thompson Twins original. It would add an extra level of sweetness to the track, but its not in the original, so I reluctantly abstained.

Anyway, I am pretty happy with this one…I hope you enjoy it…

Here is all the stuff…

Main Piano Sample:

Vocals (Slowed Down):

I can’t find the song on Youtube because I am not sure what the artist name is – but its called Dirty Talk, and the laugh is a classic.

The Amen Break:

The Other Break:

Break with high pitched bells (might have come from the b-side now I think of it):

Big Daddy Kane Break:

Added By Me:

1) As usual, I took the main track and brought it up to speed (literally and figuratively) by mimicking the original beats, and layering them with percussion and modern production techniques. I feel like this is a given and you must be bored of reading this. I wonder if anyone does? First person to send me an email with the subject line “aardvark” gets a free tune from a forthcoming KFA E.P.

2) I added an offbeat bass and stab. I also changed the lead riff sound, made it more dynamic, although I kept the original as part of the layers.

3) I added a few sound effects, but only a few, along with a few drum fills here and there.

Like the original, my version is pretty strictly simple.The format etc remain the same. And it updated pretty well I think. I am not sure that any of my versions will ever beat the originals, but that was never the intent. So on the whole, pretty happy with this version. Like The Fat Controller’s “In Complete Darkness” I find this one works on a modern dance floor really well, where some of the others don’t so much. So I give myself 83 acorns out of 121.

Nice one,

Luna-C

If you are feeling grateful for all the free tracks, you are welcome to send me a few pennies right here:

Luna-C’s Timewarp Donations

0

Timewarp Series Breakdown 14 – The Prodigy – Out Of Space (Timewarped By Dj Luna-C)

Hi Everyone, and welcome to the latest Timewarp Breakdown. Below this paragraph is the interesting stuff…. Here is a link to the set:

Here is a link to the details about the set:

Supaset 16 Blog Post

 

Here is the link to the original version:

And here is a long post about it with sample links and all that good stuff!

About This Track

Okay, we have a good one for you today! Let me just say right from the beginning, I knew timewarping this was an impossible task. There are very few rave acts that, when you go back and listen to them, they still sound as brilliantly well made and perfectly EQed as The Prodigy. Acen, sure. Some of Austin’s stuff. A few random tracks here and there. But for sheer professional sound and quality control, The Prodigy stand head and shoulders above the rest. Can Luna-C mimic it, even with more than two decades of technological advances and all the knowledge acquired from spending his life doing this work? No, he can’t. But thats okay. Some acts are a singular talent and no one can compare. In my opinion, that is actually what defines a truly great act. No one sounds like Michael Jackson, Bob Marley, Abba, Queen, The Sex Pistols, U2…you don’t have to like any of these artists, but you have to admit they are absolutely unique in the way they sound. And I would put The Prodigy in there. They might not have dominated the entire world as most of those listed, but god damn they are as close to perfect as its possible to be when it comes to the original rave sound and the sheer unwaveringly high quality of their releases.

So yeah. I knew I wouldn’t be able to meet that standard. My best hope was to come close to it, maybe I would be able to wave at it from my little bi-plane as their concorde sonic boomed pass me lol…. But let me tell you, this one was every bit of the nightmare I expected it to be. Sourcing the samples was not so difficult, it was just all the rest of it. I found the Max Romeo main vocal pretty quickly, but he repeats the main line a few times, and each time with different emphasis. So finding the right one was just one small pain in a whole catalogue of them. I must have spent a day just trying to get the “bing” noise in the vocals right. Or digging through percussion noises to find that stupid noise in the background of the vocals. Why would anyone even think to add that? After it was mastered, Jon Doe told me that the bing noise was just the sped up version of another sound in the tune, but I did not know that at the time. Jon had also spent time remixing this one, so I could have shared notes. Sigh.

The boing / spring noise was easy to source, but I had never used the Hyperreal beat from The Shamen until I found out about it while researching this tune. Its the same break used by Liquid Crystal in “You Got Me”. Its a great break. But it has a baseline / tone / echo of bass as part of the break, which makes adding a baseline to the track very difficult, and makes the break a pain in the butt to use. Its also one of those semi sloppy breaks, where if you tighten it, it sounds shitty and robotic and wrong, but if you leave it alone, everything you put with it sounds out of time, so you then have to take all the other elements and make them less accurate to match that beat. Its a dick, basically lol. None of these things mattered back in the day because sound was thinner, lower quality, less complex, and our ears were not so well trained to hear these issues. Now, when you try to update, those issues become very obvious.

Each element of this track was like that. I would try and do the simplest of things, and end up struggling with it. The rap vocals were fine, probably the easiest bit. But the strings? I did not have a Roland U220 at the time I made this timewarp, and it was a real bastard to make my ever so clever Omnisphere VST sound like a shitty old U220. And the eq of the entire track was horrid, just awful. I mean, the original is EQed to perfection, so I knew I wasn’t gonna be able to match it, but it was so much trouble to get it even marginally close and good sounding.

Another discovery I made while remaking this one was the use of the homicide stab noise. Useful that. Its funny, but all the years making hardcore back in the day, and I never knew about the Hyperreal beat or the Homicide noise, and I had both of those records. And both of them are used by The Prodigy and NRG in his Liquid Crystal alias. So thats weird. I would have used them to death had I known about them. But no internet…how would you know? Not many people did, it seems. Some breaks and stabs everyone learned quickly, but not those two.

In the end, what I have here is passable. It might even be quite good. But at best, it is still not as good as the original. And perhaps, in this particular case, that is as it should be, eh? I am certainly not upset about it, and I would have been shocked if I could have matched the original, to be honest.

Here is all the stuff…

Main Vocals:

The Rap Vocals:

The Hyperreal Break:

Extra Break:

“Boing” sample:

Stab Noise:

Added By Me:

1) As usual, I took the main track and brought it up to speed (literally and figuratively) by mimicking the original beats, and layering them with percussion and modern production techniques. I added a snare and clap over the snare of the drums. I also used the beats from the Ultramagnetic MCs – I figured it would help disguise the fact that the rap vocals had beats behind them. I font know if The Prodigy did that, probably not tho. I couldn’t do much else, and they needed to be toughened up, and that seemed like the best way. I feel like this is a given and you must be bored of reading this.No aardvark this time tho lol.

2) I layered most of the stab noises, and even that was incredibly tricky to do, because too much and it lost the personality, but too little and it didn’t do the job.

3) I added a few sound effects, but only a few, along with a few drum fills here and there.

4) I added a baseline. The original doesn’t really have one, and the one I have added is quite subtle. I am not sure you can really have a track without a proper baseline in modern music – you notice the gap. But back then no one knew any better.

5) I used a sample for the main stab riff that plays over the vocals. The thing is, I grabbed that from my personal “old skool sample library” and I don’t know where I took it from originally lol.

6) I layers and filtered and multi band compressed and sampled and resampled and chorused the shit out of the strings to get something that is not really right, but as close as I could get lol

7) In the original, there is a “mistake” where the vocal comes in and sort of slips backwards. I kept that in my version. You will hear it at:  03:51  Even that was annoying to do lol.

So yeah, all in all, its okay. I like what I have done. I hope you do too!

Nice one,

Luna-C

If you are feeling grateful for all the free tracks, you are welcome to send me a few pennies right here:

Luna-C’s Timewarp Donations

0

Dj Saiyan Reviews Luna-C & Reeve “How I Felt On Wednesday”

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Saiyan’s Totally Unbiased “How I Felt On Wednesday” Review

In the interest of full disclosure, let me start this review by stating upfront that I am a signed KFA artist and Luna-C/Reeve is a good friend of mine, whom I have produced a pair of pretty okay (if I do say so myself) EPs with. I first became aware of this project in about August of 2015, and began hearing bits of it in September. None of that will factor into this review. I’ve never been one to shy away from saying I don’t like something, and I’m not about to start now.

With that said, on to business!

How I Felt On Wednesday is a bit of a unique beast. While technically it’s an artist album, it’s also unique in that while each track functions perfectly well independently, the album as a whole was designed to be listened to as one continuous thing. Each track was designed in the writing/production phase to flow into the next, forming a cohesive whole. There is a running theme that progresses throughout, from opening track “Missing Pieces”, through to closer “Back To Something New”, which functions as something of an epilogue. I won’t spoil the theme here, as I feel it’s best experienced blindly on your own, but be advised there is one, and you should keep an eye (and ear) out for it as you listen. Also worth noting is that due to the nature of the project, as individual tracks that are written to be listened to as a cohesive whole, there’s an almost complete lack of DJ friendly intro/outros throughout. While they are certainly mixable with a little creativity, that is something to bear in mind.

In terms of the actual content of the album, How I Felt On Wednesday is very much both a Luna-C album, and a Reeve album. At its core Chris’ Luna-C alias is definitely doing the bulk of the heavy lifting musically, with the Reeve alias providing an almost folk or blues edge throughout the tracks. As such, it blends a variety of styles and influences, but each track does so in a unique way both in terms of the specific genre each track (almost) adheres to, and in the content itself. Some tracks are very Luna-C, with only a Reeve vocal and some light guitar work to mark the fusion between Chris’ two aliases, others are very Reeve, with lighter Luna-C-style production to bring it into a more electronic setting, and some are a direct fusion of the two. It’s a wildly varied album, with each track bringing something almost completely unique to the album compared to the others, while still working on its own, separate from the project as a whole.

I’ll break it down track-by-track, and then summarize the complete album at the end.

Missing Pieces:

I’m a firm believer that with any music project it’s incredibly important to start out strong, as it really sets the tone for the rest of the listening experience, and that’s accomplished incredibly well with Missing Pieces, which is easily my favourite track on the album (and also among the first to be completed, as I first heard this track more or less in the form it’s in now way back in September). A 180 BPM kickdrum-led tune, drawing influences from Nine Inch Nails and Belladonnakillz, with a hint of mid- 2000s AMS-style big-kick freeform, and even a little Sharkey tossed in for good measure, Missing Pieces bangs, and bangs hard. From the opening strings to the half-tempo breaks at the end, this is a tune that doesn’t let up from start to finish. The second verse and distorted bridge into the second chorus are especially strong, as is the chugging guitar riff throughout. This tune is very hard, very high energy, and very unlike anything anyone is presently doing in the realm of 4-beat hardcore.

Completely Arbitrary Score: 9/10

Escape Myself:

If you thought this album was going to bang out a consistent BPM, you’re going to be in for a shock. With Escape Myself the album takes a wild turn, from 180 BPM kicks up to 220 BPM breakcore. Wild, glitchy breakbeats are the order of the day here, with a vocal that transitions easily from dark whispers to more melodic fare. This track will hit a lot of buttons for a lot of people, especially for fans of speedier breakcore (think Hellfish crossed with Shitmat), and Luna-C’s harder breakbeat/dnb productions. This track presses a lot of buttons for me, and will likely be featuring often as a closer in my sets.

Completely Arbitrary Score: 10/10

Wait and Hope:

Wait and Hope is a kind of drumstep/dnb hybrid, two genres that cross over fairly regularly, but is definitely not something you’d expect to hear from a predominately hardcore producer. This is one of the more minimally vocal tracks of the album, really letting the music take centre stage here, and it’s here that Luna-C’s production really, truly shines. The main lead is a very hard, glitchy, acidy…erm….thing. I could be very wrong, but if I had to venture a guess I’d say this is primarily achieved using the Studio Electronics Boomstar 3003, which is basically a Roland TB-303 with a hellacious case of the Mondays. It’s almost impossible to get that thing sounding anything but angry, and we should all be thankful it exists. The track is also carried along by an excellent rhythm guitar bit, with an almost…hrmm…I want to say bluesy feel to it, but that’s not quite right. I believe that’s something of a common thread on this album, as many things sound almost kind of like other things but aren’t exactly like those other things. Anyways, if you like hard, acidy, breakbeaty music, this track will be right up your street.

Completely Arbitrary Score: 10/10

So We Fight:

Ugh, this track hits me right in the feels. This is the first purely hardcore track on the album, carried primarily by breakbeats, pianos, and epic strings that wouldn’t be at all out of place in a film score, with nary a guitar in sight. The vocal and piano line are really the standout parts of the track, telling a rather maudlin story of relationships gone wrong, before ending on another glitchy, acidy note. If you’re heavily into breakbeat hardcore, this will surely be one of your favourite tracks on the album.

Completely Arbitrary Score: 10/10

The Passenger:

This is the first purely non-hardcore song on the album. As a 140 BPM almost borderline psytrance track carried by another chugging guitar line, acid, and little fills that are not unlike a dentist drill (but not in that grating this is the worst sound ever) kind of way, it actually reminds me a lot of Infected Mushroom from the period when they really started incorporating more guitars into their material. This is some of the strongest vocal work on the album, which really showcases all the work Chris has been putting into his vocals from the first Reeve album, through the Risk E.P., and up to now. If you’re going into this album expecting a full-on hardcore affair, this is the track that’ll show this is so much more than that. This track also marks the point in the album where the tone shifts from the first defined “part” and into the second, which you’ll hear on your first listen all the way through. I’ll have more on this when I get into the album as a whole.

Completely Arbitrary Score: 7/10

Reset, Restart:

Part 2 of the album begins here, kicking up the BPM slightly from The Passenger’s 140 BPM to a more oldskool hardcore 165. This is one of the more “Luna-C” tracks on the album, with his strong, breakbeat production doing the bulk of the heavy lifting, punctuated by a great Reeve vocal, and some excellent use of spoken word samples. If I had to compare it to a past Luna-C and Reeve track I’d say this is probably closest to Take Me Home, my favourite track from the Risk E.P., in terms of how it successfully melds the three aforementioned elements into one cohesive whole. It is a bit on the mellower side, but serves as an excellent introduction into the remainder of the album.

Completely Arbitrary Score: 7/10

Not The End:

This is easily the most guitar heavy track on the album, with riffs playing throughout almost the entire track, capped off with a nice little 8-bit melody throughout. On the flip side, it’s also one of the more “Luna-C” tracks of the album, with lots of little sounds and synths and tricks that have been common fixtures of his music since the beginning of the Supasets. One synth that comes in towards the end in particular is one you’ll have heard a few times from Chris over the past few years. If I had to compare it to anything, I’d say it’s most like a lot of the kick-led tracks from the Supasets, which anyone who knows me can attest to the fact that I’m a HUGE fan of all the work Chris has done for those projects, so this track is naturally right up my street. A harder tinged, driving kickdrum track, this one is likely to be a fixture of my sets from here on out.

Completely Arbitrary Score: 9/10

Soul Sick:

You may have noticed by now that every track on the album has been Completely Arbitrary Scored fairly high. Unfortunately you can’t win ’em all, as Soul Sick is one of my least favourite tracks out of the bunch. Which is actually odd as it does quite a lot of things right, but it doesn’t all come together quite as well as it should for me. This is the first (and only) track on the album to feature a tempo change, starting out slow and melodic with an acoustic guitar bit in the low 120 BPM range, before kicking up into a full-on 175 BPM breakbeat/dnb track for the remainder. Both parts work well independently, with the slower, acoustic section building well into the faster, harder section. Honestly the whole thing is done really, really well, with the tempo change being very organic. I’m not actually sure what about this tune isn’t doing it for me, but to me it feels like the first real misstep of the album.

Completely Arbitrary Score: 5/10

Crooked Line:

This is another one I heard back in September, and has remained basically unchained in the months since then. While on its surface a fairly standard breakbeat/dnb track, due to the style of the main bassline, and the acoustic guitar throughout, this track could easily be reworked into a full-on song with a band without losing anything in translation. This is also probably the folksiest the vocals get, with Reeve clearly drawing a lot from the work done on All Roads Lead To Her(e) (WHICH IS GREAT GO BUY IT). This is a more mellow type track, but the excellent vocal work and Luna-C’s long, LONG history as a breakbeat producer keeps it from crossing that (crooked) line from mellow into boring. This is another stand-out track for me, for sure.

Completely Arbitrary Score: 10/10

Because of You:

I want so badly to really, really like this track. And really, there’s a lot to like here. It’s clear a lot of time and effort went into it, and it’s very freeformy. Anyone who knows me knows I started out as a freeform DJ, so that style has always held an important place in my heart. Musically, this track is a very rushy, energetic, bangin’ tune. It’s the vocal that really doesn’t do it for me. I’m not sure if it’s just the rhythm Reeve gets into with the verses, or how it’s sung, but for some reason it’s just not clicking for me. Once the verses are done and it gets into the chorus and full-on into the freeform stuff, it’s a great track, but I feel like the verses really hold it back from being truly great.

Completely Arbitrary Score: 6/10

Back To Something New:

The album closes out on something of an epilogue, with Back To Something New ending the proceedings on a decidedly oldskool tip, with modern production. Reeve takes a backseat here, only popping up for a very 90s oldskool-style vocal snippet. It’s within that vocal snippet that Chris really shows off his vocal chops, hitting high notes that actually made me stop and ask, “Dude, did you pitch shift this? That’s REALLY high!” To answer that question, no, he did not. This tune has a strong early-Prodigy influence, coupled with Luna-C’s own work in the oldskool breakbeat hardcore realm. It’s a strong closer that melds much of the sounds heard across the album into one track. Along with a strong opener, I feel a strong closer is very important to any music project, and Back To Something New achieves that with flying colours.

Completely Arbitrary Score: 9/10

How I Felt On Wednesday (the complete album):

Each track stands well on its own, but it’s as a cohesive whole that the album really, truly shines. As I mentioned previously, each track is designed to flow directly into the next with no breaks. While from a DJ standpoint this is perhaps suboptimal, but How I Felt on Wednesday wasn’t really conceived with DJs in mind. It’s worth noting again that if you’re picking up this album with that in mind, while each track is 100% its own thing, and mixable, you will have to great creative with your mixing for the tracks to work in your sets. From a listener standpoint however, this is a great piece of work. Despite the occasionally wildly varying styles and BPMs, the album achieves its goal of working as a cohesive piece very, very well. There’s only one specifically kind of jarring bit, but as this specific segment also marks where the album undergoes its tonal shift from one part to the next, it works.

I highly recommend that in buying this album you listen to it as a whole first, before going digging through the individual tracks. I feel this will maximize your enjoyment of the album, allowing you to experience as intended, before going back and digging through your favourite tracks for a closer listen. As a project, How I Felt on Wednesday stands tall as a very unique and varied piece of music, and is easily one of the hardest and most personal works in Luna-C’s entire catalogue, running the whole gamut of everything he can do as a producer.

As a final thought, let me just say that I deeply enjoyed this album for a lot of reasons. The way it pulls so many different influences from so many different places, and melds it all together with Luna-C’s production and his more folksy rock work as Reeve is nothing short of masterful. This many different sounds and styles really has no business working together as well as it does, and trust me, it DOES work. This will stand for many years as one of the most unique projects ever done by a hardcore artist, and should appeal to both fans of that genre, as well as fans of some of the many, many places from which it draws influence. How I Felt On Wednesday is, despite a few missteps, a fantastic piece of work, and well worth the listen. In fact, it’s worth multiple listens, as each subsequent run will reveal even more subtle layers of musical nuance. It really is a gift that keeps on giving.

Completely Arbitrary Score: 9/10

KFLP20CDBackV2500

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Timewarped Series Breakdown 09 – DSFK – New Science E.P (Timewarped)

 

PLEASE READ BEFORE DOWNLOADING

Here is the breakdown of track 09 of the Timewarped set, which in this case is DSFK – New Science E.P!

Here is a link to the details about the set:

Supaset 16 Blog Post

 

Here is the link to the original version:

And here is a long post about it with sample links and all that good stuff!

About This Track

Let me start by saying that despite this not being a particularly famous hardcore track, it was and remains one of my favourites. Also, I know pretty much nothing about it. I had this as a white label, I don’t even know what year I bought it, and all it had on it was D.S.F.K – New Science E.P. I don’t know the name of the track or anything.

But it is awesome. The intro was unmixable (at least, I couldn’t mix it back then, not enough skill lol) but the whole tracks composition was just perfect. The swelling strings, the delicate piano that starts off one way then broadens out, the steppy, light breakbeats and the classic “feel the power” vocals all add up to a very unique track, and one with its own special challenges when it came to remaking it.

In fact, in many ways I failed with this Timewarp. I now have a Roalnd U220 in my studio, and I wish I had have owned it when making this because the strings were impossible difficult to remake. Old hardware strings were kinda shitty, thin, unrealistic and needed a lot of work to make them sound right. New VST strings are realistic, wide, gorgeous things which are great – unless you are trying to mimic an old skool tune. Then it takes a great deal of work to ruin them. Even after that, I don’t feel like I got them right in my version. Close, but not correct.

The breakbeat was a bigger problem. I know that beat, I really do. And I spent hours combing through my files, trying to locate it. But in the end, I had to call it quits and just try to remake the breaks as best I could. It was made even trickier because the original track is actually very light, and that is part of the personality of the piece. I had to add heavier drums, in this case a 4×4, because I thought it would fit the track better for modern audiences. And it worked in itself, and its pretty good, but it does lose some of the originals feel.

The stab riff that comes in around 2:20 was a nightmare. I had to half speed the original and build that one note at a time. All in all, this should have been a very simple track to remake, but it wasn’t, at all.

Still, I am fairly happy with the result. I did have to add various edits and drum rolls, so this was a lot more than a straight rebuild. Really, this was not an ideal one for a remake, it is a product of its time and perhaps should have been left that way. On the other hand I love it very much.

Here is all the stuff…

Intro Crowd sample:

Vocal samples:

Breakbeat – Hoovers & Spraycans:

Breakbeat – The Noise Engineer (white label) couldn’t find it on Youtube, sorry!

Breakbeat – Incredible Bongo Band – Apache:

There are other samples, stab noises and the such, but I do not know the original sources, I just used my own files where I sampled stabs back in the day and called them catchy names like “classic stab 16” lol.

Added By Me:

1) I layered the beats, and like with the others, I did my best to add weight and power without changing the personality of the track. I failed on this – I had to add a kick and off bass, and the sweetly steppy breaks got lost along the way 🙁

2) I layers many of the sounds, but some I just used eq and modern magic to bring out the best elements as layering lost even more of the original personality.

3) I added a bunch of sound effects, some time stretched loops. I just felt it sounded better for the modern audience, even though it departed from the original.

I failed with this one really. Don’t get me wrong, I am happy with what I have done, and it does sound like the original, but it isn’t strictly a Timewarp version, its almost a remix. It does keep the same format as the original, and it follows the same feelings and pathways, but as I said earlier, I think the original was such a perfect representation of that style at that time, and its a style long lost to the modern audience – not hard enough, not heavy enough – and to make this tune hard and heavy is to lose what made it so amazing in the first place.

Nice one,

Luna-C

PS it seems my donate button has broken. Which is annoying – I don’t know how to fix it. But if you want to make a donation, just go to www.paypal.com and send your millions to me as a gift. Its real easy. my email address is luna-c@kniteforcerevolution.com

Very appreciated! (ignore the non functioning donate button below!)


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Timewarped Series Breakdown 08 – Sonz Of A Loop Da Loop Era – Far Out (Timewarped)

 

Hi Everyone, and welcome to the latest Timewarp Breakdown. Below this paragraph is the interesting stuff….

Here is a link to the details about the set:

Supaset 16 Blog Post

 

Here is the link to the original version:

And here is a long post about it with sample links and all that good stuff!

About This Track

First up, after watching the video, why is Winston (Run Tings) singing all the parts? Especially when you can clearly see Rachel Wallace is in the video. She did not sing the vocals used in the track, but it would have made more sense in the video I think lol. Worse than that, why am I wearing that hat? Anyway…terrible early 90’s video aside…

Ah man, this one was hell. Literally, it took the longest out of all of them, because finding the samples was a chore and a half, even worse that listening to the Egyptian Lover albums. First up, the chant? Thats from a Bulgarian chanting group that had some popularity back in the 80’s. Yes. That happened. And the group released 8 full length albums of chanting. All done in the traditional style, and in the Bulgarian language. There is a link below to one of the tracks. You tell me if the sample is in it? lol. Seriously, this was tricky. Because not only was it 8 albums of stuff that is all similar, it is in a different language, and Sonz Of A Loop sped the sample up. So I would often hear something that sounded very like the correct sample, only to find out it wasn’t.

It took about 6 hours to find that one sample. And someone I was talking to after the set was released said “oh yeah, that sample from Simon Harris’s Breaks, Beats and Scratches album, right?” and it probably is where Sonz got it from. Grrrrr. Still, I went to the sample source, so got it super clean. This is what I tell myself so I am not too upset about how much time I spent listening to fkin Bulgarian chanting.

That was bad enough. But getting the “This Kids Gonna Be Far Out” was almost as bad. Its from a documentary about woodstock. A badly made documentary. That is over 4 hours long. That can’t be downloaded or scrolled through, just watched. That is also included below. Enjoy? lol…god that was boring.

And this was a hard track to remake anyway. I ran into issue after issue. I knew I would not be able to replicate the scratching. I can do the scratch, but it wouldn’t be the same, and god only knows what sound Danny Breakz was scratching in the first place. I did edit the scratching though – the original had huge peaks. If you watch the needle playing in the vinyl of this track, it is being thrown left and right, and it could skip because of this. So I ironed that out.

The drums were a pain in the ass. I never had the original beat, but I located it eventually.

The piano for the original was from the Roland JD800. I am pretty sure of this, as that was Austin / Suburban Base’s main keyboard. I have one of those now, but I did not when I remade this track. the JD800 piano is…weird. The only way I could get a similar feel was to layer multiple M1 pianos, and then take away the bass and heighten the midrange. But to get it sounding right, I ended up adding a hi hat to each piano strike. I doubt very much that Austin (the engineer for this track) did that. The JD800 piano sound just has that sort of hitting, trebly sharpness to the keys.

The “Give Yourself To Me’ vocals were difficult to. Austin added pitch bend to make them sound the way they do. Its subtle, but essential to get right.

Having said all that, this one came out great! So here is all the stuff…

“Far Out” Vocal sample (copy and paste cos I can’t embed):

http://www.disclose.tv/action/viewvideo/185693/Woodstock1970_Full_Length_Documentary/

Chant samples:

Sinnamon – I Need You Now “Give Yourself To Me Vocals”:

Breakbeat – The Beginning Of The End – Funky Nassau Pt 2:

Added By Me:

1) I layered the beats, and like with the others, I did my best to add weight and power without changing the personality of the track.

2) The piano took a lot of work, and I added a very short sharp hi hat to give it that edge, but I have it as close as I could without having the Keyboard it came from

3) I added a very few little drum edits and sound effects here and there, as well as a drum roll or two. But very little.

4) Hardly any sound effects needed for this track. I tried my best to mirror what was already in the tune – so the hollow sounding riser was made with the portamento on a Roland SH-101, samples, then given a bunch of reverb etc. A few crashes were extended and given width, and I added subtle sound effects here and there.

5) I cut the scratching up on ReCycle, and rebuilt it note by note after slowing the original track down 50%. I have no idea how Austin did this. Dude was a crazy person lol.

I am very happy with this version. The original is one of the best hardcore tracks ver made, and after speeding it up, it still sounds very on point and loses nothing of its originality. It still tears the dance floor up, over 20 years after its conception and release, with almost nothing changed except the speed and the production values.

Nice one,

Luna-C

PS it seems my donate button has broken. Which is annoying – I don’t know how to fix it. But if you want to make a donation, just go to www.paypal.com and send your millions to me as a gift. Its real easy. my email address is luna-c@kniteforcerevolution.com

Very appreciated! (ignore the non functioning donate button below!)


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Timewarped Series Breakdown 07 – Dj Seduction – Hardcore Heaven Timewarped

Dj Seduction – Hardcore Heaven –  Timewarped

Hi Everyone, and welcome to the latest Timewarp Breakdown. Below this paragraph is the interesting stuff….

Here is Supaset 16 – The Timewarp Set on Soundcloud – please leave a comment? Unless you hate it, in which case, don’t lol 🙂

Here is a link to the details about the set:

Supaset 16 Blog Post

 

Here is the link to the original version:

And here is a long post about it with sample links and all that good stuff!

About This Track

Its been a while since I did one of these breakdowns, and I have to admit, my already crappy memory is fading with each track. So forgive me if the track descriptions get more vague as far as how I put them together goes. I have never been that interested in what I did, always more focused on whatever is next.

But I have never forgotten this track. It has always been brilliant, and is, in my humble opinion, the best thing Dj Seduction ever made. It is a perfect hardcore track. And even its name is perfect.

I did not realise until I started to make ti that it does contain quite a lot of stolen bits and pieces, which is a surprise, because I usually do know that sort of thing, being the trainspotter that I am lol.

It was fairly easy to bring this one up to date, mainly because the track is very well constructed. I did have some issues finding exact samples. For some reason, i had always believed that the “Here It Comes” came from Big Daddy Kane – Raw. Which starts with the vocals “Here It Comes”. But  after sampling it and making the Timewarp version using the BDK sample, I found out I was wrong. It’s actually Masta Ace – Can’t Stop the Bumrush…Bollocks. I didn’t know that when I made the track.

Anyway, here are the parts, as far as I could locate them….

“Here It Comes” Vocal sample:

Various Riff Parts:

Intro Stab:

“Feel It” vocals (acap not online):

Added By Me:

1) As with many of these, I had to choose between Kick and Breakbeat, so I went with Kick. The original had a kick anyway, and I kept the breakbeats where I could.

2) I layered the stabs and bass where needed. The lead and the intro stabs were both given more width and depth and had added effects.

3) I added a very few little drum edits and sound effects here and there, as well as a drum roll or two. Really, this track needed very little to make it work.

I am happy with this version. The original was a bona fide classic, and this is the perfect example of a timeless tune. It still tears the dance floor up, over 20 years after its conception and release, with almost nothing changed except the speed and the production values.

Nice one,

Luna-C

PS it seems my donate button has broken. Which is annoying – I don’t know how to fix it. But if you want to make a donation, just go to www.paypal.com and send your millions to me as a gift. Its real easy. my email address is luna-c@kniteforcerevolution.com

Very appreciated! (ignore the non functioning donate button below!)


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Timewarped Series Breakdown 06 – SyKick – Nasty (Remix) Timewarped

SyKick – Nasty (Remix) Timewarped

Hi Everyone, and welcome to the 6th Timewarp breakdown! I am posting these breakdowns onto my blog slowly over time, but not with the free track, obviously! You have to be on the Kniteforce Mailing List to get the free tracks from this set and others 🙂

Below this paragraph is the interesting stuff….Here is Supaset 16 – The Timewarp Set on Soundcloud – please leave a comment? Unless you hate it, in which case, don’t lol 🙂

Here is a link to the details about the set:

Supaset 16 Blog Post

 

Here is the link to the original version:

And here is a long post about it with sample links and all that good stuff!

About This Track

This is one of my personal favourite tracks, but I have no idea if it is a big tune or not. I mean, everyone I know loves it, but I don’t remember it being like an anthem or anything.
Still, it is a brilliant track. With this one, I had to try and get a balance between both the kick drum element and the breakbeat. I think i did a good job, but in this case, a good job means that, although Timewarped, this track still feels very old skool. I think this is because it is truly a mixture of all the best old skool elements – the “typical” piano, the stabs etc. All became very standard in the years that followed this release. But it is amazing to think that this format – later emulated by SMD1 and the whole happy hardcore scene, came out well before that was a standard. So this is a case of being so innovative that the years have made it normal. Having said that, I love this tune to bits, I feel like it is everything a “happy hardcore” track should be.
It was difficult to make, but only because the accapella of Forget The Girl by Tony Terry is nowhere to be found online. Or if it is, I could not find it. In the end, I went to ebay and bought the vinyl just so I could get the acapella. The observant of you will notice I spelled acappellaaa differently each time I wrote it. Well, fuck that word. Too many ccc’s and pppp’s and llll’s and I never know how many of each goes where lol.
Anyway.
This one wasn’t technically difficult – many of the elements became standard, as mentioned before, so many of those elements were already on my hard drive. This means I cannot account for all of them. I know what stab noises it used, but in some cases I have no idea of the original sources of those noises.

Vocal sample (no acap available online, so heres the track):

https://www.youtube.com/watch?v=gp8w1D2LUD4

The intro vocals:

The “s’had a remix vocals” are here:

Added By Me:

1) Heavier drums, percussion etc. As always, I tried to find the original drums, then compliment them with others that would keep the same feel but add depth and power. This one was a very tricky balance.

2) I layered the stabs and bass where needed.

3) I added some subtle sound effects to keep it more interesting, but it did not need much

4) I made it say “s’had a re-remix” because I couldn’t resist it lol.

I am happy with this version. I think it failed to bring the track into the modern era, but even so, it just sounds great, because the original was great!

Nice one,

Luna-C

PS it seems my donate button has broken. Which is annoying – I don’t know how to fix it. But if you want to make a donation, just go to www.paypal.com and send your millions to me as a gift. Its real easy. my email address is luna-c@kniteforcerevolution.com

Very appreciated! (ignore the non functioning donate button below!)


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