Name: Raining Blood by shiverslinky
Duration: 2 min 21 s
Description: Cover of Slayer's Raining Blood from the 1986 album Reign In Blood. Uses Dave Lombardo's drum track gleaned from YouTube.

Carcass "Zochrot" (dB034)

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Brown Sabbath is the alter ego of Austin-based Brownout, delving into the catalog of the Hard Rock and Heavy Metal godfathers themselves Black Sabbath. “The Wizard” featuring Alex Marrero on vocals is the B-side of the lead-off single “Hand Of Doom", pressed on limited colored splatter 10inch.

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Brownout presents Brown Sabbath (feat. Alex Marrero) - "The Wizard"

Cover of Slayer's Raining Blood from the 1986 album Reign In Blood. Uses Dave Lombardo's drum track gleaned from YouTube.

Raining Blood

produced by Felix Snow

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Mixing old-oldschool and as-then Proper Rave, this was a mash of classic breaks and key-sounds with some hefty nods back to the 'day' (which was, then, about 3 years ago, ie 1993).

Pulling in lots of classic sounds - the amen break, the vocal line and buzzy big synth lines.

Written in Fast Tracker II under DOS, using a Gravis Ultrasound card while I was studying computer science at Liverpool University.



Mashup

This was one of my first attempts to emulate the Prodigy.

At the time, Fat of the Land had just come out and I was just finding my feet with music - but we had zero access to synths, only samples and precious little sample-RAM.

The name 'Respire' was a clear nod to the fact I was listening to the structure and components of 'Breathe' by the Prodigy.

The guitar parts were by my friend John Haselden and the drum fills clearly show my intent to emulate the structure of the tracks that were rocking my world at the time.

I continued to fail to emulate the Prodigy, but, further down my musical career, I managed a little more subtlety ;)

As with all other tracks on this album, this was written in Fast Tracker II, using a Gravis Ultrasound card on a PC that I assume was running dos 6.something.

Respire

Messy, dubby piece of smashed-up breaks and bass.

At least in this track I wasn't attempting to emulate anyone at all (directly), this was me putting together influences that I loved.

Slow part, dubby part, dark part, frenetic break part.

Tinkly bit!

The name stems from the bird squark that can be heard in seminal 808-state tracks and the general techno-as-rave sensibility, but as a track, I think it actually did pull together the sounds of the day and the way that tracks that got played out now moved back and forth between the speeds and mixed it up. Rave was not dominating dancefloors any more, but there was a flux of genres that was starting to happen, keeping the floor interesting.

Nostalgia

Totally DeathBoy track.

This obeyed absolutely no fucking rules whatsoever. Maybe close to an Aphex track in that it was made to be what it was.

For once, I wasn't trying to be anything. The synth noises played themselves and told me that the track should sound LIKE THIS.

Basslines played themselves in, tinkly noises entered themselves into the trackerline.

This track was instinctive drum and bass from a 90s boy full of tech.

I'm sure it would never have got played out then, but I love it now.

Phone

And this, to my infinite shame, was my response to hearing, adoring and wanting to emulate the Prodigy's 'Firestarter'.

(again, hence the name)

Mentasm synths, punchy breaks.

Then, when I might have just about nailed the dance-factor, SUDDENLY I ROCK IT BACK INTO 90s TRANCE-RAVE! HAHA!

So what we end up with is a hugely fucking bipolar track, both halves of which I adore, and which would have neatly fit well into the early 90s sets that rocked tracks by Acen in which the same sort of schizm rocked the fucking house.

I didn't have much of an excuse, I was trying to sound like Firestarter and I was 19. The results were nothing like it, but they did show what I was built out of at the time and where my music would go in the future.

It IS full of energy and spunk, and I love it for that :)

Bassline UTTERLY sampled from John and Julie's "Circles (Round and Round)"


Pyromaniac

Up-speed track from my bad-bwoay days.

Notable for my not using the Amen break for the first 8 bars.

Lots of soft, mellow synth sounds, bounded by a well-rounded sub-bass.

Some more delicate break fun, with the re-pitched snares playing about SORT of shows that I was moving toward the idea that breaks needed to be melodic.

Dune sample "ALL RHYTHMIC VIBRATIONS" mashed up with a heavily time-stretched classic 'PEOPLE JUMP!'

Big fat basslines and trippy tinkle-synths abound.

The fast, spinny high synth pattern was a double-speed nod toward the trill in Opus III's 'Fine Day', which I adore hugely.


Rhythm

Proto-trip-hop!

This was my first attempt at 'a slow track'.

Called 'syrup', as I felt that a half-speed track felt like swimming through syrup.

As somebody who was (at the time) writing drum and bass, this was an attempt to move back to the hip-hop speed and obey the rules of that music, as a transition back up and into my own speed.

The track (like many in the genre) exists at two speeds, as the influences of the music did. We danced and listened at two speeds.

Before dubstep, there were many gigs where the sound pulled down into a dub-speed song for a long time, before being raised back up into the energy and BPM of the evening. DnB nights (at least some of them) were not always frenetic and relentless.

This track pulled and pushed between the two speeds.

Raining Blood

shiverslinky

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