AF036 – Buttress O’Kneel – Compop 12.4: NonCore

Compop 12.4: NonCore

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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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AF035 – Buttress O’Kneel – Compop 11.1: Hard DadaPop

Compop 11.1: Hard DadaPop

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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.

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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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