BIG BEATS. BIG BUTTS. BARFCITY.
G.E.R.M.s (2021)
This has been a labor du love for about 20 years, first painstakingly making tracks in GoldWave on my PC in my childhood bedroom, cutting and pasting loops into a master WAV, using longhand in a notebook to denote time-stretches and effects. I’m sure there were DAWs around at that time, I just didn’t know any better. I was young, dumb, and y’know, full of artistic genius.
After several failures to launch over the last few years, I have rebuilt, remastered, and completely changed those original songs in Ableton, as I only had 256kbps MP3s (I hope) of the original album. Proper archiving was not a top priority in my youth (what the top priorities of that time is unclear), and one of these songs took a good six months to find the original break I had used. I even installed a Windows 95 virtual machine so I would be able to read dozens of old AKAI sample CDs, only to eventually find it on a random drum loop site. Such is the tortured life of a professional musician.
I would describe this album as a mix of my influences: David Holmes, Prince Paul, The Avalanches, Fatboy Slim, The High & Mighty, Liam Howlett, Air France, Tricky, The Wiseguys, and DJ PayPal. A high-minded mix of big beat, breaks, house, jungle, trip-hop and plain ol’ hip-hop – this album is an ode to a time when a boy could listen to all this music and not know anyone else in his hometown who was doing the same. Bon Appétit.
*nothing, and I mean nothing is cleared, it’s just for fun! Unless you want to pay to clear anything! Then let’s chat bb
DREAMLAND (2022)
The heavily anticipated follow up to the pandemic darling G.E.R.M.s, BarfCity returns with his signature mash-up of big beat, jungle, hip-hop, house, hip-house, 2-step, drum & bass, dubstep, bro-step, trip-hop, rave, garage, and all sorts of other electronic genres of varying tempos. An ode to the lost amusement parks of Coney Island through the 1910s and 1920s, the theme is chaos, menace, and danger, just like the current Coney Island.
There are mountains of samples in here, but also features plenty of synths and programmed drums now that I’ve actually figured out how to include those, almost like a real producer! I’ve noticed this cuts down the substantial time investment of the sample-searching portion of production as well, which is why I suspect most sample-based artists go down this route at some point in their careers. It’s also slightly more creatively and legally fulfilling to generate your own sounds to go with the found ones.
Welcome to Dreamland.
(Not affiliated in any official capacity to Coney Island.)
The Classique Disc Jockey Sets
GRANDE ARMÉE (2024)
FULL LP COMING WINTER 2024 I PROMISE