DISCOG 2005 - PRESENT:

{Trapdoor Tapes} [TT010] NATURAL DISASTER CDR+C20 PACKAGE (OOP)

{Trapdoor Tapes} [TT025] MSHING&SCISSOR Collaboration - CAVEMAN SCIENCE 3"CDR (OOP)

{Trapdoor Tapes} [TT034] EMESIS/SCISSOR SPLIT RECYCLED CASSETTE (OOP)

{Trapdoor Tapes} [TT036] CREEKS RUN CRIMSON CDR (OOP)

{Magik Crowbar} [MC048] CREEKS RUN CRIMSON REISSUE CDR (OOP)

{Self-Release} Wallow In Gore Digital Release

{Under Collapse Records} 4way Split 3"CDR w/ NOISE MACHINE/STIRNER/HOPE EVERY DAY (OOP)

{Self-Release} Vorspiel Digital Release

{Shit Noise Records} [SNR377] Split CDR w/ Hope Every Day (Limited 50 Copies)

{Red Venice Records} [RVR0080] Vorspiel 3"CDR (Limited 25 Copies)

{Shit Noise Netlabel} Krach Macht Frei Compilation (SCISSOR - ARRAY)

{Shit Noise Records} Shit Noise 26 Compilation CDR (SCISSOR - TRANSMIT)(OOP)

{Self-Release} Fantasia For Twenty Five Oscillators, Op. 17 Digital Release

{Kingdom Of Goat Records} KOG I Compilation (SCISSOR - ORDNANCE)

{Shit Noise Records}[SNR441] Split CDR w/ RAVEN

{Smell The Stench Records} Split CDR w/ THIRD-I

{Deadtones Records} Be Quick Or Be Dead Vol.1 Compilation (SCISSOR - GIFT)

{Deadtones Records} Wallow In Gore Digital Re-Release



UPCOMING:

Split CDR with Schrödinger's Hell (Limited 50 Copies)
{Untitled Productions} Split 3" CDR with TJERE (Limited 50 Copies)
{Smell The Stench Records} ARMATURA CDR
{Smell The Stench Records} Split CDR with GNASHING OF TEETH
ORDNANCE CDR (Limited 100 copies)
Split 3"CDR with THROES (Limited 50 Copies)
Split CDR with INFECTED SIGNAL
EMESIS&SCISSOR Collaboration - HORNETS RECYCLED CASSETTE (Limited 25 copies)
WALLOW IN GORE 2 X LP (Limited 25 copies)






Most material was released in limited runs on TRAPDOOR TAPES 2005-2007 
www.trapdoortapes.blogspot.com.au

Review Courtesy of CASSETTE GODS:

EMESIS / SCISSOR Split Recycled Cassette (Trapdoor Tapes) 
Trapdoor Tapes have been emitting various strands of hiss cultures from their Sunshine Coast, Queensland domicile since 2005, from what I could gather. A batch of five tapes arrived a while ago, so more information as it develops. The Emesis side is dubbed quietly but hits the spot with some hellish manipulated tape, delay and feedback maneuvers, possibly captured in a live setting. It's static, despondent and hallucinatory stuff with a machinated, almost industrial tone. The Scissor side is dubbed about ten times louder. Whirring drills grind away at harsh noise territories, bludgeoning the signal into obscured crackling at some points and chugging into phaser-heavy repetition at others. There are some interesting textures created with polyphonic signals, but the gadgetry feels overloaded. Eventually the signal totally dissolves into shards and pops, and the side is over. The casing for this split is probably the most grotesque of the whole batch, with a paint job straight out of finger painting hour and a sticker of Paris Hilton in all her irony, staring you down.

Review Courtesy of OBSKURE PANDEMONIUM:

THIRD I / SCISSOR Split CDR (Smell The Stench Records)
I.) THIRD I-THE BIRDS:
Static and Nature.Noize and "Beauty".Harsh high end howls of birds and feedback that seem to blend together as one. There is an odd ambience here, like the kind of ambience created by crickets at night.Piercing ringing feedback rises and
falls.Sounds not found anywhere in nature peak through for moments and vanish.Sounds like a noize/ambient track recorded in a rain forest with minimal technology and the batteries are dying.Strange sounds along with the wall
of birds and crickets continue mixed with crackling static.The noize effects almost sound like wooden flutes at times giving this more of a primal feel.Makes me imagine cavemen making first contact with alien life.I wouldn't
call this "Harsh Noize" but the production gives it a Harsh feel.At times it is almost painful w/ such high ringing walls of sound.Static effects whirl and crackle more towards the end obscuring the sounds of nature.In the end
noize wins and nature is no more.
II.) SCISSOR-COIL:
Scissors contribution to this short split is a little more harsher.Static forms a pulse and rythym along with clicks and strange sounds.An air-raid signal goes off and becomes a fragmented drone adding more to the pulse of the track.
Becoming more distorted and glitched as it goes on until it becomes a myriad of harsh noize.The pulse stops.The air-raid warning continues and is invaded by various electronic noize and grinding.The coils are turning.Evolving.Breeding.Giving
birth to more machines each with a tone of their own.Another pulse is born and rumbles through then breaks.Crunching distorted noize.Oldschool video game-like effect and electronic fuckery.This is much more diverse than the THIRD I
side of the split.Walls of noize and various manipulated frequencies.Almost sounding angry at times.The coils of the machinery engulfing any who ventured this far into the realms of underground electronics.It all begins to wind down and back up again. Coils constricting the listener.High pitched noize layers ring out and compete with one another Joined by "drums" or rather a plodding of some sort.Bubbling attacks of razor sharp sound.This is not the harshest noize projekt around by any measure but there is something challenging about all the drilling,pulsing analog soundscapes that SCISSOR presents us with.Low pummel.
Distorted drones.Noize torture.Then the coils slowly unwind to silence.

In short: if any of the following names does ring a positive bell in you, my creations might be interesting for you -
air
aim
pogo
the orb
bonobo
lemon jelly
badmarsh & shri
the crystal method
carbon based lifeforms
future sounds of london


This is about the spectrum I am moving within.


Other than that, all critics, advice and comments are welcome, thank you ;)

P.S.: I am constantly working on making music vids with my tracks. By now, five of them are done - you can watch them here:

Nicki & Stephen
https://www.youtube.com/watch?v=G496afUFHYk

- changes
https://www.youtube.com/watch?v=leKzkkPuAdI&feature=youtu.be

-Become Legend
https://www.youtube.com/watch?v=7dpj9ib6n3M

-Yellow Brick Road
https://www.youtube.com/watch?v=gGop2MEGLMM

-Are you watching closely..?
https://www.youtube.com/watch?v=WxQ2IJkWiOg

Enjoy :)

Bio:

A wise man once said “I don’t sing because I’m happy, I’m happy because I
sing”, a quote that emerging songstress Netta couldn’t agree with more. Born
into a military family, Netta has traveled and seen the world from angles
and views most people can only dream about. Like most legendary R&B artist,
Netta got her start singing in church. Her church choir beginnings still
ring through her unique vocal styling and ministering lyrics. Since
then,she’s gone on to diversify her credits by singing background vocals for artist
such as Lyfe Jennings, Sunshine Anderson, Dondria & more. Thankful for everything
she experienced as a background singer, Netta is ready to step from behind
the shadows onto the center stage. Netta has already begun recording her own
original material, with songs such as "Summer Breeze", "Misplaced" and the
sultry, melodic "Forgive Me". Netta demonstrates an interesting mix of
recorded material that shows her playful, girly side in addition to a
vulnerable side that she courageously shares with her listeners. Aside from
bringing back authentic elements that are missing in a lot of today's R&B,
Netta is also baring her soul and singing her truth. In her song "Mistaken
Love" she sings "What did you do with the man I married? "Seems he got
replaced with somebody who don't care 'bout me", it's her gut wrenching
lyrics that make audiences swoon over her. Music is life and that message
transcends through Netta's platform of real life short stories. Her smooth
chocolate skin tone and soulful melodies make her almost irresistible to her
male audiences and her down to earth, best friend, home girl down the street
personality makes her a hit with female audiences as well. No matter if
you're a long time R&B listener or a casual R&B fan, Netta's talent is
undeniable!



Since 2008 at Mexico City, started recording acustic memos, while travelling within the city. Portable devices made this an habit with all that time invested in public transportation, that would let him prepare tracks on the way home to sing on as soon as he got out from the vehicle.

Poor ambition and experimental attitude have served him to gather an uncommon sound. An intimate project that speaks about the shades of being, always trampled by trends and fashion. Maybe thats the interesting part.

Within this ecosystem of ignorance, sentimentalism and  curiosity, norbeister proposes dark wave, soul, and post-industrial melancholy to categorize his sound, doubting  to ring any bell.

------------------

En el año de 2008, en la Ciudad de México, norbeister comenzó a grabar memorándums acústicos mientras transitaba por la ciudad entre destinos. El hábito introspectivo fue abriendo campo entre dispositivos portátiles y todo ese tiempo invertido en transporte público. Pistas instrumentales desarrolladas en horas metro para luego, cuando abrieran las puertas, cantar en trayectos peatonales, encubierto por el anonimato citadino.

Poca ambición y un conocimiento empírico, le han valido a este analfabeta  para integrar un sonido poco ortodoxo. Un proyecto íntimo que versa en la sombra de su propio ser, siempre rebasado por las tendencias. Tal vez eso sea lo que tiene de interesante.

En este caldo de cultivo de ignorancia, soul, sentimentalismo, dark wave, melancolía post-industrial, norbeister propone etiquetar su sonido como dark-soul, dudando que alguien le vaya a agarrar la onda.

Many new artists try to side themselves with a particular scene or establish a new one of their own. But 21-year-old London based singer, songwriter, producer and fully-formed pop star Archeo is not the poster boy for this scene, or the breakout artist for that movement. “I’ve not crossed over from anything,” he says, “and I’m not coming from any niche. I make pop music. Pop to me is a constantly changing landscape, and I’m proud to be part of that tradition.”

The funny thing is, by not trying to fit in anywhere, he fits in everywhere. Listen to Archeo’s razor-sharp pop songs with one ear open, and they have the mainstream-friendly ring of those uber-produced radio hits teams of pros spend months crafting for whoever eventually takes them off the peg. Listen more closely and you hear common qualities between these songs; these well-defined, dynamic, vocally-driven songs are more sharply observed and cared-about than they might first have seemed, with lyrics about ambition and darkness and ups and downs. And you may question what exactly it’s all about. Open your eyes and there’s your answer: a 24-carat, 21st Century pop superstar in waiting. There are no puppet-masters here, just one man at the heart of everything.

This’ll be no surprise if you’ve picked up on the beautifully executed, pop funk of future anthem ‘The Payback’, the furiously bass-driven ‘Young N Reckless’ or enjoyed the romantic sheen of ‘Extra-Ordinary’, but Archeo has what he calls a “mish-mash philosophy”. Without hitting the listener round the head with clunky symbolism he’s keen that his songs reflect his heritage and globe-straddling life to date. His dad’s work saw Archeo, along with his Panama-born mum, move around a lot - born in Bombay, he moved to Hong Kong, studied at an American school in Nigeria then finally settled to London, “just listen to my accent, you know some air miles have been collected!” he laughs. 

And despite being a life-long student of pop, he seems brilliantly unselfconscious. “For a while I was nervous to admit that I wanted to be a star, because of all the cynicism that comes with it” Archeo explains. Nevertheless at 16 he quietly began making demos and posting them up onto MySpace, “I knew it would only take a click of a button and I would instantly be connected”. Though the hustle only just started for Archeo, at 17 he saved up and bought a plane ticket to Miami, finding himself meeting with label executives and ultimately leading to a few offers that he ultimately turned down, “I was unsure of what exactly lay ahead, and I was certain that moving too fast would have been a huge mistake”.

Behind the state-of-the-art production is a refreshingly old-fashioned passion. In an era of smart playlists and SendSpaced zip files - a world to which Archeo, who’s already picked up a strong online following, is no stranger - he still obsesses about the romantic notion of the radio and, with it, the radio hit. He says about his music, “I just want to shake things up a bit for all the cynical on-lookers of powdered pop, so they can delve in more closely…and see there’s more to it all than you might first think.” And when you say to him that his music, this explosive, space-age future funk pop he’s been brewing for the last five years, doesn’t really sound like anything on the radio at the moment, he fixes you with his penetrating eyes and says quite simply, “just because they haven’t heard it yet doesn’t mean they won’t like it”. So in clattering, space-age R&B workout ‘Glass Half Empty’ which has already garnered massive R1Xtra support, there’s a nod to A.R. Rahman for example, while Archeo’s sharp visual style throws in modern men’s tailoring, a slight rockabilly influence and, let’s not overlook this, a bit of a penchant for hair grease. “I suppose the point is that this mish-mash philosophy I have is one where little bits from here and there work so well together. Distancing myself from the fashion allows me to be the best that only I can be. There are no spin-offs here, it’s different but still relevant”, he grins.

Push Archeo to name specific influences and he’ll tell you about his passion for 90s pop songwriting, early-2000s R&B, and great performers such as arguably pop’s two greatest Browns, James and Bobby. Over the next twelve months you’ll hear far more from a largely self-A&Rd collection of songs, many of which are the result of Archeo deciding on producers whose work he likes, finding them on Twitter then, if it sounds interesting, getting in touch. “If I see that someone’s in the studio that day, I’ll check out who they’re in the studio with, what they’re doing and that’ll lead me to someone else,” he explains. “Sometimes I’ll end up contacting someone I never knew existed. It’s pretty exciting.” What might once have been a closed door is now wide open, and it’s a process that has led to Archeo working with a handful of producers like Mr. Waltmann (No Doubt, Madonna, Janet Jackson, Katy Perry) The White N3rd (Loick Essien), Fred Cox and MNEK, but with Archeo at the helm throughout.

Certainly, the rich seam he’s hit on in the last twelve months seems a lifetime ahead of Archeo’s earlier demos, even if the passion and energy - and of course that distinctive voice - are all still in check. And there’s a lot of Archeo in all these songs. By the time Archeo releases his album, he says, you’ll have a compilation album from an artist who’s followed his own path, and found out a lot about himself in the process. “In ‘Sun Don’t Shine’ for instance the song’s essentially about a twisted relationship where we only found anything out about each other when we were in our darkest moments,” he explains. “We were held together by those short flashes of darkness. We learned more about each other in those dark moments than we did when we were having a great time. It’s a song about learning from your mistakes.”

Archeo may be keen to learn from life mistakes, but this talented new artist who instinctively pushes himself from challenge to challenge is making precious few when it comes to his music. His opening shot at the tail end of 2011 was the self-released riotous anti-authority anthem ‘Mr. General’ - produced by Archeo alongside studio legend Steve Osbourne (Suede, New Order, Perfecto), he says “‘Mr. General’ was a quick blast of what is yet to come”. And rightfully so, with new single ‘The Payback’ in the pipeline, this newcomer better be ready for all the doors that are about to be opened for him. “Believe me, I won’t pause to walk through them”.

Hi and welcome to my world... ! I'm DJ Dakafka; an Amsterdam DJ & Selector (producer) and have been active since 1995. Started of as an ambient DJ, playing at several underground parties, benefits, clubs and venues. My sound soon evolved to a more up-beat tempo playing all kinds of dub influenced dance styles like Zion Train. Check them here on Soundcloud! 

Played at big squats like:The Silo, Vrieshuis Amerika, ADM and Rijkshemelvaart. Starting as a chill out dj in club Trance Buddha, I ended up hosting the saturday evenings in the downstairs arena for a few years.Other clubs I ran my sessions in? Melkweg: Time Machine, Amp Studios, Paradiso & Studio 80: Errorkrew, The Bus. Even played at bigger venues like Digital Overdose, Mystery Land, Future Reggae Ruigoord and Magneet Festival. Had an interesting session last year at the Jah Bar with Zen Rockers and looking forward to spin with them in the near future!

As a DJ I've always been interested in making live radio, mixing and soundscaping too. Back in the days and born out out of my passion for radio I and a firm group of friends and dj's soon launced our own non commercial (pirate) free radiostation in 1990; called Free Style fm 101.5 and shared that frequency with Radio Patapoe wich was also a big non commercial underground pirate radiostation that still excists nowadays, but no longer via airwaves. (you can find them here: http://radiopatapoe.nl) (and the old site info can be found here : http://radiopatapoe.nl/wp-content/uploads/2012/08/links.htm) 

So I've played on several big independent Radiostations here in the city, the biggest one of them was Radio 100. A non commercial & non profit, independent,  free ("pirate") Radiostation wich was broadcasting 24/7 all over Amsterdam and surroundings. Also, there was a very good live stream via the www (24/7).Radio 100 was one of the first in town broadcasting via the web with the best support from DFM rtv Int. You can find some info about Radio 100 and a link to DFM here: http://www.desk.nl/~radio100/
 
As a dj I hosted/presented a few shows, one of them was called "Het Podium"; presented and produced by me and best friend dj Bergman. Besides our program I had my own; Serotonine, on the air for many years, alongside of this I was a regular (in time of absence or holidays) fill-in (for example) programs like Roots & Culture, a show hosted by King Shiloh. 

I am back on a webstation that is called DHC.FM

One love.

ps for bookings please give me a ring on my mobile +31644511222 or email me at epc@xs4all.nl

<<.>>

Rookie Allen’s Galileo’s Ghost, is an epic metal space opera told through visual and audio art, that not only crosses genres it also crosses worlds. With a sound that paints classical strokes and harmonies through the destruction of a behemoth born from metal and raised on the dark side of rock. It stares into a sea of electronic ambiance…waiting…waiting for the day that it takes the world into it’s grasp and screams towards the stars, begging for something to try and stop it…kinda.
In reality Galileo’s Ghost is a project that offers Graphic Novel/Album combos, that follow the struggles of the individuals that exist in the multiple fictional worlds and dimensions of the Galileo’s Ghost multi-verse. Musically Galileo's Ghost sound like a movie soundtrack, don't let the "Epic Metal Space Opera" tag fool you. It has taken close to 4 years to finish this album with the help of a 80 piece orchestra, 40 piece choir and an army of other talented musicians to lay their touch on this Rookie Allen's pride and joy Galileo's Ghost - Remember Me, Starfighter Volume One.
Think of Experimental Heavy Rock meets Star Wars. Vocally Rookie Allen, is like Ying and Yang. He sings like an angel and screams like a demon. His vocal style fits like a glove as it sores high above Brendan Baker's chunky riffs and tasteful solos. Zach Falconer's steam rolling war drums and Steven Moore's rumbling bass, lay a solid foundation to each monstrous track. From Classical scores infused with Heavy Metal, Heavy Rock to beautiful Experimental electronic tracks amalgamating with gorgeous piano and power ballads.
Galileo's Ghost is an a Heavy Metal Space Opera drowning it's orchestra in a sea of experimental Bliss.Visually, Galileo's ghost is told through a 454 page graphic novel/comic book, that employees not only the visual talents of Rookie Allen himself but other artist involved in the Starplanet team, such as Spang Green, Drew Turner, A.W.Gray and Fully Metal Keith.

Book One:
Part One follows the story of Lieutenant Grey Curtis, A Starshell pilot assigned to the Starfighter Galileo’s Ghost, a giant intergalactic exploration class battle cruiser of the United Nations of Earth fleet. While occupying a sector of space classed as “Ventelli” Space,
(A race of grey aliens that once almost whipped out all human life, but are now engaged in a civil war.)
The Galileo’s Ghost has discovered a nebula that not only has it’s own strange atmosphere, But also has inside it a group of unstable planets that all share this atmosphere. What is most interesting is glowing at the center of this nebula. What has always been called “Mythical Cosmic Unicorn” or in other words a White Hole. Something that has only been thought of as a simple mathematical equation.

Grey, in his Starshell (A single manned body Armour used for space battle.) is sent to take a closer evaluation of this space abnormality.But he is the first of the crew, to find out that it’s not the pot of gold at the end of the rainbow that they crew first believe it is. The gravity suddenly reverses and Grey is pulled into the swirling vortex and torn into another reality.

Over the last few years leading up to this encounter, Grey has grown cold and dead inside.
The last of his squadron, an anti-social hermit. Only ever exiting his quarters on the Galileo’s Ghost, to fight off rebel Ventelli attacks. When the cease fire between Earth forces and the Ventelli was declared, it caused outrage amongst the Ventelli population. Splitting the race into factions and causing a civil war to erupt. Rebel Ventelli forces fled the planet setting up an operation ring of strong holds and out posts through out the edge of their solar system and around the neighboring systems. Earth extended it’s hand to the Ventelli home world and offered support. This outraged the rebel Ventelli factions, thus dragging the humans into another war.
It was during this fight that Grey lost everything. Cassedy, she was the only thing that gave his life meaning out amongst the galleries of scattered planets and distant suns. She was his only reason to live. Until during a battle with a Ventelli faction and she was torn into pieces while he was forced to watch.

He quickly finds out that he has been pulled into a parallel dimension. Where the people that he thinks he knows are not the same. He finds out that in this dimension he’s dead. So to those around him he’s ghost. Held captive by a corrupt Royal Empire posing as a Royal Commonwealth. He is interrogated and tortured until the truth is accepted, that he is from a parallel reality. A result of a successful weapon experiment from a world shaped from a different outcome of World War II. A world shaped by a time that racial and social superiority dictated the if you would live or die.

It’s in this world he finds her again. His reason to live.
He joins her fight against the Royal Empire, and discovers God like power, in what this world calls a Starfighter. A symbiotic being genetically coded to Grey’s DNA.
A symbiotic weapon passed down from the ancient races, that chooses two souls to defend all creation against the forces dark.

And while all that is going on, The Galileo’s Ghost is locked in a life and death struggle with Rebel Ventelli forces. And once thought as useless crew members, find themselves at a cross roads. Remain nothing and be forgotten or fight and show their worth…and be remembered.

Kent Rebekah is following