Its OK to Be a Freak

BioRemnants Optica A/W 30X0

breakcore love songs about limerence and joy, isolation and dependency, cross-country moves and goodbyes

sunsetting halcyons [full album]

watch the yt video :3 youtu.be/ndLcogjNSj8
I used the op-xa Air drifter preset for pad and the Rise above preset for bass, thats where the track title comes from // for arp i used ju06a
2nd track of the "november" project

Air above

short sketch while more serious things are worked on

Sand Demo

Box names:
  Box 1:  (*"Un-BQn) [lefty "]                                                       * = p on old emulators, x on new emulators/console
  Box 2:  (EEEF0Qn ) [zero; ends with space]
  Box 3:  (EEF"…o  ) [lefty "; one …; ends with two spaces]
  Box 4:  (EV !n   ) [one space after V; ends with three spaces]
  Box 5:  (…Ffm FRm) [one …; one space after m]
  Box 6:  (EEE…FPm ) [one …; ends with space]
  Box 7:  (E       ) [ends with seven spaces]
  Box 8:  (EmFlo   ) [lower case L; ends with three spaces]
  Box 9:  (yLRom"Ro) [righty "]
  Box 10: ( ?"FGEn ) [starts with space; righty "; ends with space]
  Box 11: (?" …?q  ) [righty "; one space after "; one …; ends with two spaces]
  Box 12: (E0T-n   ) [zero; ends with three spaces]
  Box 13: (YN?nFNRo)
  Box 14: ( ?"7 ?n ) [starts with space, righty "; one space after 7; ends with space]


Shirahoshi

For the first time ever, “Seedful Things” sees an official release two full decades after its conception. The 20th anniversary edition includes the original 13 tracks from the debut @hitori-tori album, along with four unreleased tracks written in the same time period. The CD version also features an exclusive hidden track unavailable on digital platforms.

The year was 2005 when Julian La Brooy finally decided to plant the seed of his newfound Hitori Tori project. Based in Japan at the time, he recorded a batch of promising demos onto a pack of CDs to ship out to record labels abroad. Nearly four years of studying the craft of balancing aggressive breakbeats with comforting melodies was compiled and ready to share with the world. After running into logistics issues at his local post office that prevented the CDs from traveling anywhere, La Brooy gifted the recorded demos to friends surrounding his artistic endeavors. Unbeknownst to him, the CD would eventually make it onto SoulSeek, an infamous peer-to-peer file sharing network where its community tends to influence the growth of rare and obscure music projects. Becoming a hit beneath the interweb, the album was eventually uploaded onto YouTube, gaining even more interest and becoming a cult classic within the niche of braindance enthusiasts. 

It is our utmost honor to finally give Hitori Tori’s debut album a proper home. Welcome to the 20th anniversary edition of “Seedful Things” - a celebration of experimental electronic music through the passage of time, only made possible by the virtual crate diggers that fuel it. Each track’s arrangement has been left as is, with the only enhancements coming from the improved mastering technology in our arsenal two decades later. The album centered around the development of drill ‘n’ bass, familiarized by the legendary sounds of Warp and Planet Mu in the 90s. The subgenre serves as sort of a neutral zone between braindance, drum ‘n’ bass, trip-hop, and electronica. As breakcore began making its digital footprint, the high stakes, high tempo movement was immediately met with La Brooy displaying a warmer, more playful interpretation.

“Seedful Things” is a vibrant ecosystem of distinct species coexisting. Each intersection seems as leftfield on its own as it feels tightly woven, merging influences from the internet and La Brooy’s environment into one. In tracks like “Yutaka,” he sampled one of his Japanese students playing with toy trains in class, only to end the track with field recordings of a nearby train stop. There are plenty of moments throughout the album that are purely inspired by La Brooy’s routine commutes around Japan, surrounded by strangers with birds meandering above. Occasionally, a few wrong turns would lead him on a side quest - “Walls Of Shibuya” was written after purchasing tea at an undiscovered shop that led to mild hallucinations. The project is riddled with relics of a distant yet familiar past, like in “Breakfux Of Champions.” Here, he used samples from a contest held by Nautilis, the now defunct project of a household name in electronica, to create a glitched-out blend between hip-hop and breakbeat. La Brooy is also unafraid to pick up the microphone in “Ishibashi vs. Tennoji” and “Why You Drinking Booze?” as he turns simple interludes into displays of conscious rap, only with unconscious lyrics meant to be taken unseriously. Aside from the many crossovers, there are tracks that have certain recognizable styles, such as “Keihan Line” and “Aonepsco” taking on breaky drum ‘n’ bass aesthetics. “Stole My Tet” and “Chioal” provide lovers of trip-hop a nice place to roost, just before the album chaotic unwinds into the final few tracks previously unheard.

Pieced together, “Seedful Things” is more than a showcase of what made the mid 2000s so incredibly special for computer music and its hoard - it is the hatching of a ravishing flock of seabirds preparing to take flight and spread its seed.

Seedful Things (20th Anniversary Edition)

PRE-ORDER

Hitori Tori - Pyphen (2025 Remaster)

the unveiling

Vacuum

When John cage was asked about his completely silent composition 4:33, whether or no it was a whimsical or spontaneous creation, He replied:
“Do you mean, was it a joke?” Cage furthered that "spontaneous" could not be the right word in any case, that it took several days to write, but more importantly it had taken several years to make the decision to do so. What compositional eloquence he had, a javelin thrower who trains to throw only once, perfectly and on point.
Alas my work here on this album is only the hapless product of stumbling fingers, hammering out by so many orangutans fighting over garbage. 2 years in the making and I am still wishing I had cut my fingernails closer before I began banging on the keys.
There is a small lie in there, inconsequential but true. I barely play any real keys here. I was never a great instrumentalist and it grows less important to me by the day. It is ideas now I will try to dance upon, talk about, and bloody fist pound down to a handful of compositions that I have entitled “impossible”.
The first four of these have been lovingly set into vinyl by my sweet Italianese collegues at Hundebiss. God Bless their courage.

the unveiling

thorp

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