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About Slipmatt
An early chart hero during the early-'90s rave explosion and the leader of the growing happy hardcore nation later in the decade, Slipmatt changed the course of hardcore techno towards a serious artist-oriented direction -- more in line with earlier dance styles like house, techno and drum'n'bass, all of which endured a period of critical rebuke before emerging as styles "worthy" of critical comment and praise. As a DJ, producer, dance-mag reviewer and head of the crucial United Dance label, he became the don of happy hardcore. Born and raised in Essex, Slipmatt loved music from an early age and became entranced with punk, ska and dub during the early '80s. After working for a mobile DJ from the age of 16, he bought his own turntables and started mixing records by himself. A partnership with another DJ, Lime, resulted in the single "Do That Dance," recorded as SL2 for B-Ware Records. The duo self-released their second record, "DJs Take Control," which just narrowly missed the British Top Ten in late 1991. Their next single, "On a Ragga Tip," became another rave anthem, tied to the emergence of rastafied breakbeat techno -- exemplified by the Prodigy and Shut Up and Dance, and a heavy influence on the development of jungle/drum'n'bass several years later. After being licensed to XL Recordings, it stormed to the number four position in the British charts. SL2 disintegrated soon after however, leaving Slipmatt back in the rave scene, which was fast turning underground. Instead of following the emerging dark sound, he decided to promote the original positive vibes of rave by forming Universal, Awesome and United Dance Records. By the mid-'90s, a quite respectable scene was evolving out of the sound, dubbed happy hardcore. Though critical respect was in a minority, Slipmatt began getting much attention and even a few cover stories as the leader. He mixed four volumes in the Mixmag Live! series (one with old pal Lime) and an equal number for the United Dance series, including the excellent retrospective United Dance Presents: The Anthems 92-97. ~ John Bush, All Music Guide
Slipmatt's Discography (1)
| Helter Skelter Vs. Raindance Present Rav... | Ministry Of... |
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Compilations Featuring Slipmatt (20)
| Helter Skelter Vs. Raindance Present Rav... | Ministry Of... |
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| Helter Skelter Vs. Raindance Present Rav... | Ministry Of... |
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| Helter Skelter Presents Hardcore 2007 Th... | Ministry Of... |
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| Helter Skelter Presents Hardcore 2007 Th... | Ministry Of... |
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| Hardcore 2007: Helter Skelter Vs. Rainda... | Ministry Of... |
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Shazamers Who iD'd Slipmatt
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Dear Science TV On The Radio |
| On the way to be established as the best American band of the decade, TV on the Radio's third album has arrived surrounded by five star reviews. Good news is the music totally justifies this level of hype. The Brooklyn-based combo has not abandoned their experimental nature; albeit "Dear Science" sounds deliberately shinier, funkier and more accessible than its, already polished, precursor "Return to Cookie Mountain." Lyrically, though, is quite a darker proposition. Many see on its tone a suitable metaphor to describe their country's collective mood, demoralized and confused, right at the end of Bush's presidency. The band's eclecticism is on full display: electro hooks next to D&B touches; shoegaze's atmospheric layers mixed with post-rock's bass lines via P-funk, often all in the same song. This sonic fusion can be as impressive as disorientating; rich and dense, but also the key that makes TV on the Radio's work improve with repeated listening. Main vocalist Tunde Adebimpe, often helped by guitar player Kyp Malone on second vocals, appears as a sort of missing link between Peter Gabriel and Prince; whereas David Sitek recently turned into producer du jour, applies his multi-instrument playing skills. Members of Antibalas guest on horns, highlighting the romance a new generation of US bands is having with African music. Celebration's Katrina Ford also helps in the mighty single "Golden Age" and the ballad "Family Tree", another of the album's many standout moments. . | |
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