So called 'breakcore', as in the all encompassing non-genre which refers to just about anything with a club beat (be it deconstructed or not) that happens to be too strange or aggressive to really be passable (in the U.S. at least) to either the hardcore Ecstasy and glowstick burnouts or the younger, much hipper (and more boring) Daft Punk fans, is something I've been interested in for awhile. Unfortunately, a lot of the stuff I've checked out is hit and miss, and honestly I don't feel that I've ever been able to penetrate the surface, despite having tried a handful of times. Remember my issues with death metal a section or two back? Same kinda shit. Also like death metal however, there are the exceptions, and Shitmat and Ladyscraper, happen to be two of them. Although their sounds are perhaps seemingly similar to the non-electronic music tolerant ear, the things that grabbed me individually about each of these two artists upon first hearing them were quite disparate. Ladyscraper's compositions are usually quite fast and noisy, often sampling metal guitar riffs, and using dark, sometimes violently themed vocal samples. The phrase 'overbearingly aggressive' may be a suitable description. When I listen to his music, it imbues the same state of mind in me as if I were to be listening to say, Reign in Blood...it's no vacation, but if I'm merging on to the Interstate, holy shit, you better watch out!
Shitmat on the other hand has mastered the very rarely well executed art of combining interesting music with a sense of baiting humor that doesn't taint the proceedings. The first time I ever heard his music, the phrase 'cultural abuse' stuck in my head (note: I was probably high) due to the nearly endless stream of recognizable pop culture related samples (musical and otherwise) featured in his songs (despite this, Girl Talk is not an accurate reference point). Beyond sticking it to mainstream culture, Shitmat is also well known for gleefully skewering the electronic music subculture in which he's most well known, frequently challenging both artists and followers by embracing taboos or exaggerating cliches, always with tongue planted firmly in cheek, if not pointed straight out at you.
So then, suffice it to say that when a friend got me this split 7", which features both artists remixing Nirvana songs, for my birthday last year, I was quite, quite excited; nor was I disappointed. Although both sides are great, I like the Ladyscraper remix of Scentless Apprentice slightly less, mostly because he decided to add his own vocals over the originals (on the other hand though, how many artists in the breakcore scene actually bother to sing over their tracks?). Aside from the vocals however, the remix is pretty much perfect. When the hard bass beats following the song's original drum intro come in, the effect is beyond heavy, always taking an unsuspecting listener by surprise.
The Shitmat side, a hard house style remix of Negative Creep, is practically perfect. It's not quite as harsh as the Ladyscraper track, containing more of a danceable beat. The way Shitmat approaches the original tune is also quite different, as he uses it much more as a piece to build a larger work around, than as a song to be 'covered' (beyond LS's insane added beats and vocals, his remix mostly follows in the pattern of the original song). Maybe it's because I already know how witty and subversive Shitmat is, or maybe it's just the nature of the thing itself, but in addition to the intrinsic value this track has, it also strikes me as utterly hilarious. Maybe it's because I don't view it as an unlikely possibility that hordes of misguided former frat jocks that bought Nirvana records in the early nineties and have now (de-)evolved into alcoholic, suburban, middle aged club goers would happily dance their asses off to this remix of their favorite "jam" from high school without any sense whatsoever of self reflection or self awareness. I'm guessing that Shitmat has visualized that image in his head at some point as well...Cheers to that.
Order it here.
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