For my third release after coming to the Virgo Supercluster, I have created for you a sonic template of the odyssey into the next state of consciousness for those of you who are ready for the transformation. Beyond the Flesh guides you through the stages of the process from inception to wonder as communicated through sound.

Assimilating a few evolved beings to help communicate this message with more precision, I have packed this release with the worldwide bass elite. First, Anchor Hill with his usual beautiful flow, then legendary bass master Omega dropping some Drum and Bass, h00zy bringing the ghetto bounce treatment, Nas-Ja droppin' some serious grime, a Reggae Bass treatment by Tantric Decks and finally a dive into Liquid Glitch-Hop with Art Of Fact.

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It's All So Beautiful (Original Mix)

We are pure 3n3rgy & Vibration ... MuZiK is every part of our BEing <3

👽👽👽

Don't stop sparkling

AHH OK. this way or another
i will do it my way
anyway

👽👽👽

First time I ever dj'ed was on two tape deck for my Middle School sock hop in Paso Robles California. 89 was also the first time I heard Acid House. In 92 I was 16 and got with the Du Kru from Reedley California. That year was the first time I played on Vinyl turntables. Went to a couple warehouse/barn parties in central valley California again hearing this sound called house didn't know I was attending raves at this time they were just called parties. 93 94 I played in Lawton Oklahoma at a couple strip clubs. Moved to Dallas area in 94 went to clubs in Deep Ellum. Bought dj equipment and started playing field parties I would throw at friends land. The majority of the requests was for country these kids had no clue I was educating them. This was 95 through 96. 96 met up with some cats in Dallas and took me to my first official party in Texas. 97 I started helping throw parties with Wes Glock and Lyle renegades under bridges and along railroad tracks in Fort Worth.  Also in 96 or 97 I played at a club called time tunnel in Lakewood Washington. Donald Glaude used to come watch me and the resident Joey there after he closed down his record store at night. 97 98 studied broadcasting at S.W.A.U and was on their radio station. I also got booked for my first Rave in 97 for a party called Juiced thrown by Moonkids. Mikey the Moonkid was my best friend. in 95 I started wearing what I called luv beads to highlight my liquid dancing. In 98 Corey from Luv Kids Little Rock Arkansas was staying with Mikey and not working. So I asked them to make the beads and sell them at a party in Denton Texas. A party thrown by Eye 2 Eye vs D1. it was the first time Kandi was sold at events in Dallas area. The rest is history for the Dallas scene. I left the scene in 99. only to return in 2001. I threw and dj'ed at parties in the Sherman and Dennison area. House parties and clubs. Inviting my old friends like Carl Cue,Wes Glock,R-type,Space Mountain Bob. I heard that Zenfest was coming to town. No local dj's were being represented. I contacted Patrick Lewis and John Osorio Mixchemist. John returned my emails and told me it was too late to be on flier but if we provided our own tent we could play. I got the biggest side tent i could afford trading a vcr and a tv to get us that tent. We had the largest side tent there The Groovehead Family tent and I got 20 of my dj friends in plus 1 with all access passes. I threw another renegade inside a huge festival lol. I couldn't believe how the scene had gotten so above ground. I wanted to take it back underground. I called all my friends Jason Filter John Funk, 4-peace,Wes Lee, and others telling them I didnt know how but this next summer renegades were going to happen with them involved. .oOPhuturithimsOo. formed providing the land and it was on. We threw great parties and kept it underground. Bottled water for a dollar and it came with some beads. We showed love. I also had formed an above ground crew Souled Out Productions. I got to play the second room at Delta Heavy with Sasha and Digweed. I did a weekly at Bar of Soap in Dallas Called Dirty Laundry. Dj'ed there with Frakie Vega, Ozone and others. I played several clubs in Deep Ellum and Ft Worth. I ended up not playing from 05 till 07 I moved to San Antonio and played some private events till 08. Again bowing out of the scene until 2013. With my reentry to scene I find myself so out of touch. New software programs everyone digital. I still Dj all vinyl and am just starting to help with producing.

Get loads of free music on my website. Glitch/Dub/Liquid/Breaks/Electro/
Midtempo/Drumstep/Downtempo you name it, ready to blow your speakers open with love <3

trippy bass music lover

https://soundcloud.com/lordpipe/sets/alien-bass-music-mixes-part-2

https://soundcloud.com/lordpipe/sets/alien-bass-music-mixes

This is not your ordinary Soundcloud. Its for shit that bumps made by WooferPorn Byrd & InfiniFlow LoveHater.
When the realization that the world is worthy of me sharing some of my musical creativity, i become WooferPorn Byrd. The obnoxiously creative Bass Addicted Crane. One Half
The silence destroying babe chaser, a Musical Genius Mind & Rhyme Creator is the undead koala leper known as InfiniFlow LoveHater . The epileptic Noise Deliverer. Other Half
Only when together is there enough passion and love towards the musical revolution to create true FreeBass Music
If theres any confusion left, read on and soon you'll understand.

I live, eat, drink, breathe and sleep music. Specifically, Dubstep, Filth, Glitchstep, and just about all other forms of absolutely ridiculous bass music.
Now, i take dubstep and record myself guitar soloing over it while my other FreeBassist (InfiniFlow LoveHater) spits out of control freestyle rap. The three together create what we call FreeBass music. 
Now, first and fore-most, I want each and every one of you who decide to open your ears to the sounds of FreeBass, to THOROUGHLY understand, the media I upload on here are recordings that are not edited, trimmed or cut at all. Nor have they had any sort of sound enhancement or equalization. The recordings are done in a way that is not really ideal at all so, to say the least, they are very rough on many different levels. Understanding the reasons will better explain what i mean: Basically, i have a 3 channel mixer. Channel one has the microphone connected, channel two is connected to my stage quality guitar amp which provides me with all the sound effects for my guitar and channel three is connected to my computers auxiliary output which is playing some kind of dubstep through iTunes. Now the mixer also has an output called "record out" which is connected to the line-in input on my computer. The record out port on the mixer takes everything coming through all three channels and sends it all into my computers through the line-in port. With all of that, we now have the mic, guitar and dubstep beats all being played back through my speakers. Not only is everything coming out of the speakers at the same volume, but also my computer is separately receiving all of it through its own built-in input port. Now heres what really makes the whole thing rough around the edges. Not only is my computer playing music, its simultaneously receiving the same music its playing, now with two other added sounds all mixed together, and while this is all going on, i have quicktime open and recording everything mixed together non-stop, start to finish. So while were getting ourselves into the right groove,  we are both testing out our own specific skills and talents, how we should improvise, elaborate and differentiate those skills but at the same time, without realizing it, we have been creating awesome music for 45 minutes, so now we have already recorded almost an hour of us "practicing" unintentionally, but after hearing bits and pieces of it, we realize it has a lot of 30 seconds or less parts that are funny or sound too good to be dumped. Basically, instead of recording bunches of little musical pieces here and there that would eventually get lost in the black hole i call my hard drive, we start a recording, get the practice/warmup for an hour or so, then continue to record us getting more and more sick with it and letting the freebass flow from within our heart and soul. The moment we start off, were pretty much leaking musical anal liquid jambalaya, which isnt horrible because it comes with a steady not to exciting beat and the occasional 30 seconds or so that make you open your eyes and say "whoa! where'd that come from?" After about 45 minutes of that is when shit really starts to go down. After the preemptive "feel the groove" stage, every minute that passes by gets more and more off the chain until the moment finally comes that all the stars align and we destroy everything while simultaneously repairing everything within our immediate vicinity with what is called FreeBass Music. Twenty one separate recordings with durations ranging from 20 minutes (the only one without a "warmup" stage) up to 4 hours and 55 minutes long (multiple "warmups" plus plenty of non-musical nonsense gibberish blabbing and maybe one or two philosophical conversations or realizations.) I hope now its easier to understand why the recordings i upload are so rough. I also hope you'd understand that after an hour or more of rocking so hard, abe lincoln awoke from his grave solely to tell us to calm down, that sitting and devoting at least twice the amount of time it took to record just to cut it to hundreds of tiny pieces and end up not knowing what to do with them, is pretty much as redundant as it gets. Plus, entertainment one of our 2 hour recordings will provide is unmeasurable in comparison to having a 6 minute recording that is just a bad ass song. 

Now that we have covered that, i would just like to let everyone know that either your gonna hate our music or love it violently. Another point that must be made is the fact that our recordings in and of themselves are extremely unorganized. They can also, at points, be very slow, uninteresting, stupid, even offensive or down right wrong, but please dont let the little things discourage you from the true experience they can offer. Just skip forward a few minutes at a time so you can at least say you didn't like what we do because its not your style, opposed to someone giving up completely on us and FreeBass after hearing one thing that offends them. I apologize in advance for the offensive and rude statements or remarks that are said on a regular basis throughout the recordings. Honestly though, all i really ask of you is to give at least one full recording an honest chance; really listen closely to everything because once the beats start really bumpin and hittin hard while flowing ever smoother with one another, its truly astonishing how unique, new, futuristic, and clean it all sounds. 


Generally, in almost all of our recordings, there's a good portion of it (usually in the beginning) that is, in other words us "warming-up" or "locating our specific inner musician". Its usually somewhere between 20 and 40 minutes long and is basically just a us and the hilariously entertaining, retarded, obnoxious, rude, disgusting and out-of-control nonsense thats constantly erupting from our brains. I like to think of it as a fun pre-requisite to us and the wildly unique sound we are attempting to flood the world of music with.  I like to call it Musical Jambalaya. Musical Jambalaya can be a million different things, like me playing off beat, playing riffs that dont quite flow smoothly along with the dubstep in the back ground, or my guitar riffs may sound simple, unenthused or boring, us talking gibberish or talkin shit, or even just having a tourettes tantrum. Once ive fulfilled my cravings of being usefully useless and obnoxiously hilarious, the oozing begins and once the beats start oozing, they wont stop until the bass clogs everything up.

I know and actually expect most everyone to be skeptical about this, because when i first started experimenting with it, even though it sounded awesome, i still couldnt help but think that it would never work out. If u look at it like this: Dubstep, hard rock guitar, and freestyle rap all in one boat. It sounds like a horror story, I know; but now, completely remove the "thinking" part from the equation and replace it with "listening". You'll be as surprised as i was once you hear one of those moments where the flow of the music is so powerful, it should be moving oceans. After hearing that i hope you can at least somewhat agree with the fact that; even in the rough, sketchy, some would say ghetto or even amateur state the recording was done in, it sounds pretty damn good and has an unbelievable amount of potential.


It's All So Beautiful (Original Mix)

Paradigm Theorem