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After touring extensively, including the National Gallery in Canberra, the University of Woollongong, and the Arthouse in Melbourne, Buttress took the new songs she’d been trying out on audiences (like ‘Dexodus’ and ‘I Like’) and placed them alongside live experiments with AudioMulch (with source material ranging from Guns N Roses, to Crystal Waters, to Wu Tang Clan), as well as several pieces she’d composed for other projects (including ‘Some Assembly Required’s 50/50 compilation). Continues in her fine tradition of straddling the line between breakcore, mashup, and pure dada.
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“Isn’t there something in your mind, that says, this is wrong, this is wrong on every level?”
At the time, at the time, it was like… it was…
…like horses, you know?
Comprised of two parts,* …like horses is presented as the ultimate in dark corporate stoner reflective/receptive grinding face core.
…like horses is recommended as perfect for long drives late at night, for community and public radio, for all intoxicated people, for going to sleep, for those days at work, and for ALL human life on the planet.
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So prolific was John Watermann, that in 1991 he began releasing cassettes of his music under a number of aliases, including Total Disease, Radio Mull, and Spinal Machine, on his label Nightshift Records.
‘Scraping It Hard’ was Watermann’s first release as Spinal Machine. Its four tracks range from minimal electronics, to cutups, to soundscape manipulations.
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“To let understanding stop at what cannot be understood is a high attainment. Those who cannot do it will be destroyed on the lathe of heaven.” (Ursula K. Le Guin)
A prescription for the enhancement of oneirological pursuits, be it art, reading, sleep, or a free three-quarter hour meditation in an unlit space. It evolves and so will you.
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Quite possibly one of the greatest albums ever made, this untitled release is the meeting of two of Australia’s most interesting, most underground, and most belligerently misanthropic sound-artists. Any collaboration between Buttress O’Kneel, with her sample-happy postpop cheeky-as-a-schoolgirl breakmashing, and Lucas Darklord, with his dark grinding corporate evil-as-a-business-retreat scrapescapes, was sure to be extreme. But their decision to cover the entirety of Led Zeppelin’s fourth album, track by track, using no source-material but the original songs themselves, makes an extremity that will perhaps awaken the sleeping Rock Gods, dormant since Bonham’s untimely vomit-inhaling demise. A rock-purist’s worst nightmare, and a sample-police’s greatest dream, this album marks the year 2009 as a year when THINGS CHANGED.
Now FUCKEN ROCK!
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In the year 2000, Buttress O’Kneel (with the help of her housemates at the time, fellow artists Mantis Sage, Aynat Sool, Panthera Leo, and A D MacHine) began documenting the artistic works of several robots that had achieved unprogrammed sentience. These robots were never designed to be creative, but, perhaps through simple wear and tear, commonplace quantum occurrences, or perhaps through their own dogged persistence, these robots began displaying artistic musickal tendencies, reworking and remixing standard CDs into stuttering, abstracted comments on modern humyn culture. Every night, as the humyns sat down in front of the stereo and attempted to play some musick, the robots would take over and present them with an astounding improvised glitchfest of cultural detournement and live sonic manipulation. Thankfully for us, Buttress and her friends have captured much of those heady A.I. jam sessions for us to enjoy to this day.
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With her Snares-influences fading, Buttress returned to her unique musickal place, straddling pop, mashup, and breakcore, this time creating a musical flow that brings to mind her ground-breaking “MegaMegamix”, and the “meme-couplets” of “MemeCore”. With a blend of glitch-pop and mashcore, and such sources as Madonna, Dethklok, Bowie, Dead Kennedys, Portishead, and Popcorn, O’Kneel creates a break-heavy megamix that pauses only to deliver every expletive Samuel L Jackson unleashes in “Pulp Fiction”, condensed into one single surreal stream of abuse, before screeching back off again into popmangled madness. This is the album that MySpace wouldn’t let her upload.
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Buttress decided to follow her accessible, poppy, enjoyable album “Hard DadaPop” with one of the most difficult listens she’s ever created. Although she writes this album off as simply “what happens when I listen to too much Venetian Snares”, it still has the unmistakable “O’Kneel” stamp all over it. Sure, it’s mostly all in 7, sure, it’s 100% extreme digital breakcore, and, sure, it’s filled with stretched and glitched noise passages that would make Mr Funk shake his furry head, but it also incorporates enough elements of Billy Idol, Black Sabbath, Operator Please, and I Dream Of Genie that it could only be the work of B’O’K. More like an EP that remixes itself three times than an album.
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With the tenth in the compop series “Classic Hits: Live 2007” being dedicated to live reinterpretations of many of her classic pieces (transformed through a CDJ and several guitar pedals), this return to the studio took Buttress to new realms entirely. Inspired and freshened, her ear turned once again to the multi-mash-up, and pushing the genre as far as it could go. One of her poppiest releases since “Hyperpop”, this album sees Bjork and Bowie hijacked into glitch-n-bass, Led Zeppelin and Young MC fused at the riff, and Enya coupling with Morbid Angel’s drummer, all glued together with The Knife’s “Heartbeats”, and ending with a long drifting live track from 2006.