Test Press
Since these are performance build tracks, there are certain extended elements and loops that were designed to be merged into the larger soundscape of the show. This is especially pronounced in clop. These tracks are circa 2001-2.
Since these are performance build tracks, there are certain extended elements and loops that were designed to be merged into the larger soundscape of the show. This is especially pronounced in clop. These tracks are circa 2001-2.
This record coincided with Tao Groove’s involvement with David Scott and The Logixhouse Collective, an international thinktank of musicians and artists. In 2004, Logixhouse helped to coordinate Windsor Ontario, CA’s branch of the Detroit Electronic Music Festival (Movement 2004) with Derrick May.
The realization that music could start fires sent Tao off in a basshunt direction.
Up is a transitional album, intense jungle drumwork and dustings of electro robotique. Quirked tracks like “happy robot man” and “sloppy feets” turn this entire album into a pretty eclectic blend that sounds more like a Various Artists compilation than a one man show.
FYI: Talks of a video for Happy Robot Man have surfaced.
For the same reason, the styles in each of the live performances (Live PAs) are distinct from each other to build on the flow of the evening, depending on who else was playing.
FYI: The piano from “Reconciliation” was recorded over the phone into a laptop microphone in the business office of Brilliant Studios in San Francisco. It was the hippie waitress girl Tao met at the Mexican restaurant down the block from the studio. She had been learning piano. The rest of the track was built around that single piano line.
Samples in “Light Cannot Escape” from Fear and Loathing in Las Vegas. Samples in “Phreak” from Full Metal Jacket.
The track “Dictophone” alludes to a connection between Tao Groove and the then Detroit/NYC based 8 bit peoples collective. Tao Groove was one of the original members of 8bit before their chiptune style became fully realized. He still maintains a close relationship with 8bit founder Mesu Kasumai.
Stylistic differences caused Tao Groove to recede from involvement with 8 bit peoples early on.
Many tape effects and tricks were used in the making of Holy, old school 2 inch tape style. As a result of the many analog to digital conversions and crude equipment, there is a warm saturation to all of the Holy tracks that muds up easily depending on your system.
In the original release, there were 4 tracks, the 4th being a remix of “I Made A Radio Song”, without vocals, to play live. Several speakers were destroyed because of the track, which lead to a version for safe play in clubs. This is the version we’ve released here. We also compressed and normalized it too, so you’re safe. Hopefully.
The Busta Rhymes remix was constructed as the ending of the Unification Live Set, but it’s not included in the final Live mix because of a technical failure.
It’s worthwhile to note it was created on an AKAI S01 sampler. An 8 bank rackmounted beast that got around 27 seconds of sampling time to work with and it cost $1000. It was the bronze age comparatively to what is available now as software.
FYI – “Ambassador Snap” used to be a connection phone number in Detroit (run by Linda G. in the nineties) that you could call to get information on where all the parties were that weekend. We’re talking about back in the rave days in Detroit where you had to drive to map points and through similar various hurdles to get to a warehouse party. It was necessary due to the constant police assaults on the parties at the time. PS – “Space 19″ was a ticket point underneath a coffee house in Detroit.