I KNOW ITS 4 HRS LONG but JUST START FROM THE START or PICK IT UP WHENEVER

JJ 'we can't stop'
BATTLES 'ice cream'
JENS LEKMAN 'an argument with myself'
TEEN DAZE 'watch over me'
TYCHO 'dive'
PARANOID CASTLES 'orca'
TV GIRL 'lizzy come back to life'
SMALL BLACK 'moon killer'
SHABAZZ PALACES 'capital 5'
FRIENDS 'i'm his girl'
DAS RACIST 'girl'
CITIES AVIV 'float on'
LYKKE LI 'i follow you tyler the creator rmx'
NEON INDIAN 'children of the revolution'
THE RAPTURE 'how deep is your love'
AIR FRANCE 'it feels good to be around you'
CUT COPY 'blink and you'll miss a revolution toro y moi rmx'
ELITE GYMNASTICS 'minneapolis belongs to you'
THE MAGICIAN 'i don't know what to do'
JOHN MAUS '...and the rain'
DJ SHADOW 'scale it back'
FUTURE OF THE LEFT 'polymars are forever'
PS I LOVE YOU & DIAMOND RINGS 'leftovers'
FIELD MUSIC 'i keep thinking about a new thing'
CHAD VANGAALEN 'blonde hash'
HOW TO DRESS WELL 'decisions orchestral version '
AUSTRA 'lose it young galaxy rmx'
M83 'midnight city trentemoller rmx'
ZOLA JESUS 'in your nature'
SEX CHURCH "dull light'
TENNIS 'origins'
LIL B 'get it while it's good'
CLAMS CASINO 'motivation'
MASSIVE ATTACK 'paradise circus burial rmx'
GUI BURATTO 'this is not the end ft luciana illanove'
FRANK OCEAN 'novacane'
BEYONCE 'schoolin life'
GHOSTFACE KILLAH '2getha baby'
DRAKE 'lord knows ft rick ross'
THE WEEKND 'life of the party'
ST VINCENT 'cheerleader'
JAMES BLAKE 'love what happened here'
BURIAL & FOUR TET 'ego ft thom yorke'
DIRTY BEACHES 'stye eye'
DELAY TREES '4:45 am'
JAYZ & KANYE WEST 'who gon stop me'
TORO Y MOI 'still sound voodoo bear rmx'
JUNIOR BOYS 'banana ripple'
GLASS CANDY 'warm in the winter'

THIS IS A MONSTER


formerly of the bands/creatives: 

Jupiter Forest 

No Veto

Dogmatic Cat 

rHyMeZ DiVerse

"Laadies and Geentlemen...making his way to the red corner in black trunks and long locks, weighing in at 8.6 on a richter scale...Left hook packs a mean punchline, duck low when the right swings with a deadly flow...Hailing from the dungeons of East London, breathless running from babylon's truncheons...Tongue sharp enough to cut through words... introducinngg, rHyMeZ DiVerse"

East London's newest commodity, rHyMeZ DiVerse, is a lyricist sure to put that 'crick' in your neck from all the head-nodding you'll be doing once you sample a piece of his music. Unable to be pigeon-holed into one category, he claims it takes a wide range of musical sounds for him to explain his story. But his 'diversity' in musical style can be well tracked back to the late 90's where as a schoolboy he and a friend would listen to 'Jungle' and 'Garage' music taped off the radio and, in their music lesson in school, would use the school's 
recording faciities to emulate the likes of DJ Brockie and Heartless Crew, who they listened to on a constant basis.
However, as much Jungle and Garage music rHyMeZ listened to he couldn't help but be amazed - and envious - of the way 'Hip Hop' rappers had so much space, and freedom, to express themselves over beats that obviously had a slower BPM, but nonetheless, had the same effect on the body and brain. He recalls tuning his radio one night and hearing the DJ play Rodney P. and Roots Manuva and being envigorated at what his ears were hearing - aspiring him to write his first 16bar rap - and whenever his cousin 
from West London would would visit how he would bring live, old school sets of 'London Posse' that he would listen to until the tapechewed up. 	 
Not long after finishing school did he pick-up the consistency of writing 16bar raps over 90-120bpm Hip Hop beats. But it wasn't until a friend (who persistently listened to old school Hip Hop) introduced him to US underground rappers such as Busta Rhymes/Organised Konfusion, Redman (Muddy Waters), Wu Tang Clan (36 Chambers) and Canibus (Can-I-Bus) did rHyMeZ really pick-up the art of writing and structuring a whole Hip Hop song, incorporating verses, choruses and bridges.
In stark contrast to his musical transition, in the mid 2000's, whilst finishing college, he joined UK underground Garage group 'Just Incredible'. With his new found talent of writing rap, he found it enhanced his skills as a Garage MC even though expression was limited. He and the group enjoyed performances at venues such as 'The Arc' in Angel, North London and 'Rain Forest Cafe', Central London. In the late 2000's the group started dismantling, and due to certain events rHyMeZ broke contact with the group. Cutting a frustrated figure left 
stranded in the wilderness, rHyMeZ decided to continue pursuing his career through Hip Hop, honing his skills at various open mic nights in London from 'The Dragon' in Shoreditch to 'The Social' in Oxford Circus.
It wasn't until he embarked on a project called "Bridging the Gap" - a fusion of 'Orchestra' meets Hip Hop - did he really start branching his style out, and after starring in the finale show at 'Cargo' (Old Street) people started paying attention to his diverse way of delivering a verse or freestyle - boisterous, canny yet at times brutally truthful. From here he went onto work with 'Lucid Mover' (Screaming Soul), 'Myrrh-Cedez Gayle' (international vocalist) and others. 
More to date, rHyMeZ is working on finshing his own material; 'OuT da BlaCK!', collaborating with South London producer/artist 'Bobby Zion', who is also engineering the project (Da Booth Studios). Whether he realeses the project as an EP, mixtape or album is yet to be known, however it does boast a varietyof musical genres jam-packed with british lyricism in its most rawest form. A frequent contributing artist on the project is Hip Hop rapper (and personal friend) MC Brown (www.soundcloud.com/mcbrown) who he started recording tracks with in the late 2000's. The pair share common likes for 'good'Hip Hop music coupled with lyrics that are dynamic, clever yet have meaning behind them, which is what bought rHyMeZ and MC Brown together to feature on "Don't Slow Down" the first track they recorded togeher in MC Brown's own bedroom. They have since gone on to record a numerous amount of tracks together, so a possible future collaboration project could be on the cards.  
Clearly not an artist to be underestimated, this diamond in the dirt is yet to be discovered and polished-off, hence the raw flow and, somewhat, delayed style he exerts. You'll find the more you listen to him, the more you start to like him. The more you start to like him, the more you start to pick-up onthe clever wordplay he uses and deliberate effect of his adlibs.
Without anymore delay, Ladies and Gentlemen, 'man dem and gal dem', introducing...'rHyMeZ DiVerse'. 

MA

Jay Cali is the youngest member of Psychedelic Hip-Hop and New Wave Sound, whose songs " Mona Lisa" and “Money Moves” became major streaming hits off the "Effort Past Rap" 2019 EP (Extended Play). Jay Cali is officially an affiliate, member and Entertainer rightfully endorsed and managed by Global Connect Entertainments Ltd. The next several years see Jay Cali working on more quality sound. The Zambian Artist gets inspiration from various Artists around the Globe like Chef 187, Big Sean, Drake and DaBaby. His Music genre is that made up of Hip-Hop, Contemporary RnB and Afro Blend.

Live Art is a generic term that describes acts of individual or collaborative, innovative and explorative, performance practice. It can be undertaken in relation to one or more art forms. Dialogues is a series of experimental and experiential exchanges between the visual and audible arts. The discourse is through improvisation: a free-style creative act that exists in the moment, in the instincts and intuitions of the individual, and in the participants’ reciprocal response to each other’s activities. (It may, but need not have, an audience.) 

On this occasion, the conversation is through the mediums of drawing and sounding (that is, the act of perceiving and emitting, aurally). The exchange takes place within the ‘laboratory’ of the Aberystwyth University, School of Art’s Project Room. It provides a controlled environment in which the collaborators can learn, invent, test concepts, devices, and methods, make trial of different models of practice, and record ideas. Two determinations govern the collaboration: action and consideration; (to make in order to understand and to understand what has been made). 

The initial Dialogues workshop was conceived as an open-ended and explorative exchange between visual-art practice and sound-art practice in the presence of one another. The practitioners mimicked and mirrored each other’s actions upon their respective supports (white paper and white noise), creating marks and tone by obliterating the source of either reflected light or silence. Gradually, analogies and determinations were recognised and pursued. There were characteristics and activities common to both modes of instrumentality and their implementation. The noise made by the tapping of a pencil and sweep of an eraser or hand on or across the paper; the incremental accretion of marks upon marks, staccato gestures, smudges, scraping, and scratching found their correspondence in percussive noises, sound filtering and modulation, and sonic layering and looping, and vice versa. 

During the course of the workshop, properties and procedures such height and depth, pitch, tone, density, repetition, interval, layering, pattern, obscuration, form and space, quiet and loudness, smoothness and texture, positive and negative and active and passive form, and stillness and movement emerged as elements that comprised a common grammar for creative interplay.  

Dialogues2 responds to several visual and aural observations arising from the first workshop. First, that the sound produced by the friction and movement of a pencil or stick of charcoal across the paper support is an overlooked (underheard) bi-product of the act of drawing: a sonic trace that is ordinarily ephemeral and undetermined. One of the aims of the second workshop is to concentrate on, and foreground, the sound of drawing and its permutations (sound as drawing, drawing with sound, and the drawing of sound), and to give it permanence through audio recording. 

The sound of drawings made by one practitioner will be captured by microphonic pencils (‘pencrophones’) and upon an ‘electro-acoustic drawing board’, passed through a series of analogue and digital sound filters (which will mutate, loop, and sustain the source) manipulated by another practitioner, and, thereafter, amplified. In so doing, visual drawing is conceived as, also, an aural and performative activity engaged by two participants (in this context, a PhD student and their supervisor). Secondly, the workshop examines the observation that the sound of drawing possesses an indeterminate pitch-melody which can be mapped onto a musical scale.

Adam Blackburn is studying for a PhD in Fine Art; John Harvey is Professor of Art at the School of Art, Aberystwyth University. 

Instrumentation: Adam Blackburn
 
Am-Tech multi grade steel wool: coarse, medium, and fine
Creatacolour Monolith HB, 2B
Cretacolour Graphite Stick 2B
Derwent Graphic Sketching Pencils H-B grades
Fabriano grade g/m2 120 & 200
Hilka Emery cloth sheets: coarse, medium, and fine
Harris Taskmasters 5” masonry brush
Maped putty rubber
Maxi Fit premium grade Brown Opp tape
Nastro Adesivo Scotch Masking tape
Progresso woodless graphite sticks
Superbright all-purpose cloth

Instrumentation: John Harvey

Apple Mac Book Pro
Blackstar HT Dual overdrive pedal
Boomerang III Phrase Sampler and Side Car
Boss Chromatic Tuner TU-3
Boss FV-50H volume pedal
Bright Onion Pedals kill switch 
Digitech EX-7 Expression Factory
Digitech JamMan Solo Loop and Phrase Sampler
Digitech Whammy (Molton Midi modification)
Dugain, Dunlop, and V-Pick plectra
ElectroHarmonix Big Muff Pi distortion pedal
ElectroHarmonix Superego Synth Engine
Ernie Ball P06166 volume pedal
Focusrite Saffire Pro24 DSP
Gig-fx Mega Wah pedal
Gig-fx Pro Chop pedal
G-String Decimator pedal
Keeley Compressor pedal
Korg Kaos Pad 3 Dynamic Effects/Sampler
Korg Kaossilator Pro Dynamic Phrase Synthesizer
Korg Koas Pad Quad Dynamic Effects Processer
Lehle D-Loop switch
Moog EP-2 expression pedals
Moog MoogerFooger MF-101 Lowpass Filter pedal
Moog MoogerFooger MF-102 Ring Modulator pedal
Moog MoogerFooger MF-103 12-Stage Phaser pedal
Moog MoogerFooger MF-104Z Analog Delay pedal
Moog MoogerFooger MF-105M Midi MuRF pedal 
Moog MoogerFooger MF-107 FreqBox pedal
Moog MoogerFooger MF-108M Cluster Flux pedal
MXR 10-Band graphic equalizer
Pedaltrain Pro board
PureTone cables
Roland CM-30 monitor amplifiers
SSSnake patches
Sundry additives
TC Electronics Corona Chorus pedal
TC Electronics Flashback Delay/Looper pedal
TC Electronics Nova Reverb pedal
Voodoo Lab Pedal Power Plus 2
Wampler Buffer pedals
Windsor & Newton brushes
WMD Geiger Counter bit crusher
Zvex Fuzz factory

School of Art, Aberystwyth University (2012)

Live Art is a generic term that describes acts of individual or collaborative, innovative and explorative, performance practice. It can be undertaken in relation to one or more art forms. Dialogues is the second in a series of experimental and experiential exchanges between the visual and audible arts. The discourse is through improvisation: a free-style creative act that exists in the moment, in the instincts and intuitions of the individual, and in the participants’ reciprocal response to each other’s activities.  (It may, but need not have, an audience.)

On this occasion, the conversation is through the mediums of drawing and sounding (that is, the act of perceiving and emitting, aurally). The exchange takes place within the ‘laboratory’ of  Aberystwyth University School of Art’s Project Room. It provides a controlled environment in which the collaborators can learn, invent, test concepts, devices, and methods, make trial of different models of practice, and record ideas. Two determinations govern the collaboration: action and consideration; (to make in order to understand and to understand what has been made). 

Both drawing and sounding are conducted in an abstract mode. This implies that the physical means and language of the art form is not directed towards (in respect to the former) the representation of the visible world and (in respect to the latter) melodic structure and composition. The conscious exclusion of these otherwise legitimate concerns enables the participants to concentrate on the art forms’ formal and shared elements (either actual or metaphorical). For example: shape, line, pattern, texture, rhythm, pulse, tonality, atonality, pitch, contrast, dynamics, scale, size,  simplicity, complexity, variation, repetition, layering, relation, sequence, proportion,  wholeness, starting, stopping, resolution, duration, speed, vibration, movement, gesture, space, silence, noise, cacophony, indeterminacy, and distortion. 

The collaboration is, for all intents and purposes, a duet. (And, as in Renaissance music, the duet is a teaching tool performed by student and teacher). While the ‘players’ perform together in the same space, they are at the same time separated by the obstinate and yet beguiling disparities between their respective mediums. Both participants are visual artists who play musical instruments. Therefore, as they seek to explore the nature and possibilities of a meaningful and productive interaction between two people and two art forms, the duo contribute a tutored and an intuitive understanding of each other’s chosen domain.

Adam Blackburn is studying for a PhD in Fine Art; John Harvey is Professor of Art at the School of Art, Aberystwyth University. 

Adam Blackburn: My time at Aberystwyth University, studying for a BA (Hons.) degree and a MA degree in fine art, has been dedicated to investigation and experimentation.  I’ve sought to develop a style, distinguish an individual language of paint, and gain a deeper understanding of my work. Through the processes of improvisation and collage, my drawings and paintings have tried to express a sense of objective response and subjective experience -- a combination of characteristics that has always been central to the work. For me, music and art have a profound affinity. This present collaboration offers an opportunity not only to combine my interests in these art forms but also to explore the concept of improvisation across the medial divide. My expectation is that there will be a creative dialogue between the two, one which will result in a synthesis that transcends the individual parts and contributors.

Instrumentation: Adam Blackburn
 
Coates Willow charcoal
Conté sketching crayon
Daler-Rowney acrylic paint
Digitech HardWire DL-8 Delay Looper
Fabriano (Fedrigoni Group) grade g/m2 120 & 200
Harris-Taskmasters brushes
Kitchen clothes
Maxi Fit premium grade Brown Opp tape
Pencrophone II
Progresso woodless graphite sticks
TC Helicon VoiceTone Correct XT
 

John Harvey: I put down the guitar in September 1977 at the start of my art school education, so that I could study single-mindedly.  My return to music has been in response to two realisations: first, the instinct to make sound was too strong in me (It could not be resisted forever.); secondly, it was both possible and necessary to conceive of an aural analogue for the ideas, processes, and systems that I deploy in my visual art work. I do not refer to myself as a musician. To do so would give rise to expectations that I cannot presently fulfil. I am, rather, a practitioner who articulates concept through sound on those occasions when sound is the most appropriate embodiment of a concept. Improvisation is the antithesis of the static, reductive, predetermined, and concept-led orientation of my visual art practice, although no less disciplined for that. In its immediacy, adaptability, uncertainty, and stress upon moment-by-moment attentiveness, improvisation serves as a complementary (rather than contradictory) extension to my usual mode of composition.

Instrumentation: John Harvey
 
Alesis MultiMix 4 mixer
Apple Logic Studio Pro 9
Apple Mac Book Pro
ART Split Mix 4 sub-mixers
Biyang ToneFancier EQ7 graphic equalizer
Boomerang III Phrase Sampler
Boss FV-50H volume pedal
D’addario strings 
Digitech Whammy (Molton Midi modification)
Ebow
ElectroHarmonix Big Muff Germanium4 distortion pedal
ElectroHarmoniz Freeze pedal
Ernie Ball P06166 volume pedal
Eventide PitchFactor effects processor
Eventide TimeFactor effects processor
Gig-fx Mega Wah pedal
Gig-fx VOD pedal
Godin Freeway Synth Access guitar
G-String Decimator pedal
Digitech Hardwire HT-2 Chromatic Tuner
Digitech Hardwire RV-7 Stereo Reverb
Jomox T-Resonator synthesizer
Keeley Compressor pedal
Keeley Katana clean boost pedal
Korg Kaos Pad 3 Dynamic Effects/Sampler
Korg Kaossilator Pro Dynamic Phrase Synthesizer
Lehle 1@3 switch
Lehle D-Loop switch
Lehle Sunday Driver buffer/booster
Moog EP-2 expression pedals
Moog MoogerFooger MF-102 Ring Modulator pedal
Moog MoogerFooger MF-104Z Analog Delay pedal
Moog MoogerFooger MF-105M Midi MuRF pedal 
MXR 10-Band graphic equalizer
Pedaltrain Pro board
ProCo RAT 2 (Keeley modification)
PureTone cables
QSC K-10 active speakers
Roland EV-5 expression pedal
Roland GR-20 Guitar Synthesizer
Sherman/Rodec Restyler effects processor/filter bank
Skychord Electronics Glamour Box synthesizer
Skychord Electronics Sleepdrone 5 synthesizer
Skychord Electronics Sleepdrone 6 synthesizer
Skychord Electronics Utopia Synth synthesizer
SSSnake patches
Sundry additives
TC Electronics Nova Reverb pedal
TC Electronics Nova System effects processor
Voodoo Lab Pedal Power Plus 2
Dugain, Dunlop, and V-Pick plectra
Windsor & Newton brushes


School of Art, Aberystwyth University (2011)

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