The Slew (Dynomite D + Kid Koala) – 100% [2009, album]
Label: Puget Sound
Format: 2 x Vinyl, LP
Country: USA & Canada
Released: Sep 2009
Genre: Hip Hop, Rock
Style: Blues Rock, Cut-up/DJ, Psychedelic Rock, Classic Rock
a od siebie bym jeszcze dodal truntablism, trip-hop
A2 It’s All Over
A3 Problem Child
B1 You Turn Me Cold
B2 Wrong Side Of The Tracks
C1 Robbing Banks (Doin’ Time)
C2 The Grinder
D1 Shackled Soul
D2 Southeast Soliloquay
D3 Battle Of Heaven & Hell
listen @ bandcamp:
Artwork By [Design & Layout] – Corinne Merrell
Artwork By [The Slew Logo] – Louisa Schabas
Engineer [Recording / Mixing] – Vid Cousins
Mastered By – Howie Weinberg
Mixed By – Mario Caldato Jr. (Mario C likes to keep it clean!)
Photography – Paul Labonté
Producer – D. Frombach*, E. San*
Producer [Additional Production] – Jorgen E. Steen, Vid Cousins
ciekawy artykul do przeczytania tu http://www.wired.com/underwire/2009/09/slew-turns-turntablism-to-11/ i tu http://www.inthemix.com.au/music/45218/Kid_Koala_Presents_The_Slew_–_100
“I think rock kids who hate turntables may listen to The Slew and get over their preconceptions pretty quickly,” said Kid Koala, aka Eric San, in an e-mail interview with Wired.com.
San, 35, collaborated with Dylan Frombach (aka Dynomite D) to create Slew’s spine-shaking debut, 100%, which is available free from San’s official website.
During production of 100%, San and Frombach made a point of turning up the tech by any means necessary. The result was studio and vinyl manipulation and amplification, enhanced by mixing from Beastie Boys’ producer Mario Caldato Jr., that is capable of turning heads and damaging ears.
“When we started this album four-and-a-half years ago,” said San, “we would constantly ask ourselves, ‘What would it sound like if The Bomb Squad or The Dust Brothers had produced a Black Sabbath record?’”
Then they reverse-engineered classic rock ‘n’ roll recordings and transferred their findings to their instruments of choice.
“We studied how many of our favorite rock records were produced, and adapted those studio techniques to the turntables,” he said. “I would play an E chord on a Hammond organ through a Leslie speaker to get that overdriven blues-rock tone, then we would cut that tone to record. Once it was on vinyl, I was able to bend it into any other key live, which gave it the twisted turntable sound which we liked. We would also plug turntables into amps and mike them, so everything was double-distorted, and use a lot of tape echos, spring reverbs and oil-can delays from that era. I think it helped to give it that dust.”
To reproduce the sound live, the Slew enlisted the original Wolfmother powerhouse — bassist Chris Ross and drummer Myles Heskett — to complement six onstage turntables.
by Scott Thill
the slew’s official channel http://www.youtube.com/user/TheMightySlew