AF034 – Buttress O’Kneel – Compop 9.2: PostCoreCore

Compop 9.2: PostCoreCore

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After her triumphant “core” series was wrapped up with the invention of “corecore”, Buttress was determined to be the first to go beyond it. So, while others were still trying to come to terms with the concepts behind “corecore”, she created the mind-bending new genre “post-corecore”. Not only does this album apply the tools and strategies developed in the “core” trilogy to works by artists such as Yes, Rihanna, Madonna, and the B-52’s, but it again extends the “core” genre with the inclusion of heart-breaking MOR ballads, stretched noisescapes, drone-based live material, and her infamous Windows-cracking track that was used to close the documentary “Steal this Film II”. Interwebmegalink-approved.

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AF033 – Buttress O’Kneel – Compop 8.1: CoreCore

Compop 8.1: CoreCore

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The final in her “core” trilogy, “CoreCore” again revels in the grunting syncopation of breakcore, but mixes it with an altogether softer touch. As well as the classic Public-Enemy-meets-the-Seinfeld-theme opening track, O’Kneel incorporates several of her more psychedelic-drone live tracks (created with a CDJ and a buncha guitar pedals). Although, there’s still plenty of filthy breakcore (including the cookie-monster-metal-mashup “C is For Satan”), this final in the “core” trilogy sees her wrapping up the series with a focus on what breakcore can become, rather than what it already is.

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AF032 – Buttress O’Kneel – Compop 7.2: MemeCore

Compop 7.2: MemeCore

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Following on from the broken shitcore of Compop 6.66, Buttress gives us the second in her “core” trilogy; a meme-splicing dadaist culture-tweaking album that straddles both the worlds of breakcore and mashup, to create something truly unique. With several tracks blending together to create longer pieces (“aural meme-couplets” as she calls them), this album draws its sources from the likes of Skyhooks, the Pussycat Dolls, and Shakira. To accompany the frenetic and sometimes-painful breakcore tracks, she intersperses them with pure mash tracks like “Get One Thing Right” (where she simply places J-Lo and Amerie over each other), and ends with an insane live drone track, recorded live at Black Lotus’s “ArseCore”, 2006.

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AF031 – Buttress O’Kneel – Compop 6.66: ShitCore

Compop 6.66: Shitcore

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O’Kneel’s first deliberate foray into the ubiquitous “distorted-and-cut-up-amen-break” genre known as “breakcore”, this album sees her applying it to as many unlikely and inappropriate sources as possible: Radiohead, the Beatles, even Peter Allen. As well as trying to reinvent breakcore as a pop phenomenon, she simultaneously makes her beats filthier and more jarring, creating what she dubbed “shitcore”. Not only does this album cover the entire gamut of her shitcore techniques (a style she never fully manages to shake off on any of her albums to follow), but it contains the dancefloor-shaking pop sensation “No Bananas”, as well as four bonus live tracks from her megadistorted “MONO” recordings of 2004.

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AF030 – Buttress O’Kneel – Compop 5.3: HyperPop

Buttress OKneel - Compop 5.3: HyperPop

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After her explorations into bastard pop (her previous two albums were “Bastard Pop” and “MegaBastard”), Buttress wanted to return to the minutely-sliced memetic Frankenstein-techniques she had honed so well on her second Compop release “MegaMegamix”, but with an ear more attuned to artists like Squarepusher and Aphex Twin. As she describes it, she “wanted to push bastard pop into the shape of drum-n-bass, or something”, using artists like Beyonce, Gwen Stefani, the Black Eyed Peas, and Kelis as source material. Both poppy and jarring, both revolutionary and sentimental, this may be her most iconic and unique recording to date.

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AF026 - Buttress O'Kneel - Dear Fellow Australians: An Independent Inquiry into Australian Values

Buttress O'Kneel - Dear Fellow Australians

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Buttress O’Kneel initiates an independent inquiry into what it means to have ‘Australian values’, when the hystory of the country is based squarely on invasion, genocide, abusing the needy, institutionalised racism, and lies. This is the album Australia needs to have, but is too scared to listen to.

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