Rossz Csillag Alatt Született
Venetian Snares
Rossz Csillag Alatt Született
Boomkat Product Review:
A sought-after pinnacle of Venetian Snares’s early catalogue reissued, including his flip of Billie Holiday’s take on a banned Hungarian “suicide song”
Arriving in 2005 after Snares’ had established himself among the most thrilling artists of his time, ‘Rossz Csillag Alatt Született’ saw him sampling from stacks of classical records, as well as Billie Holiday, for a concept album that imagined him as a pigeon on Budapest’s Királyi Palota (Royal Palace). In one fell swoop the album tilted his sound from pure ryhthmic extremity to a more “grown up” elision of breakcore and classical music, including a number of compositions where he ditched the ballistics alltogether. It was kind of a watershed moment for us, an undeniably impressive feat of pointillist tracker programming and lush sample rearrangement, and also the point where we thought OK, he can’t really take this aesthetic any further.
Taking sampled cues from the metric freedom and complex structures of classical works by Bartók, Stravinsky, Mahler, Paganini, Prokofiev, Elgar and Telemann, the Funk draws extraordinary links between their diametrically opposed paradigms; lending classical music a raving fire in the belly, while pushing the dynamics of jungle/D&B/breakcore to the nth degree. Paralleled in its intricacy by scant few others such as Aphex’s ‘Druqks’ album a few years prior, Snares’ efforts are arguably the last word in the original jungle formula of fast, choppy beats and sampling, and now interestingly sits equidistant to the OG sound and now for anyone making historic comparisons.
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Boomkat Product Review:
A sought-after pinnacle of Venetian Snares’s early catalogue reissued, including his flip of Billie Holiday’s take on a banned Hungarian “suicide song”
Arriving in 2005 after Snares’ had established himself among the most thrilling artists of his time, ‘Rossz Csillag Alatt Született’ saw him sampling from stacks of classical records, as well as Billie Holiday, for a concept album that imagined him as a pigeon on Budapest’s Királyi Palota (Royal Palace). In one fell swoop the album tilted his sound from pure ryhthmic extremity to a more “grown up” elision of breakcore and classical music, including a number of compositions where he ditched the ballistics alltogether. It was kind of a watershed moment for us, an undeniably impressive feat of pointillist tracker programming and lush sample rearrangement, and also the point where we thought OK, he can’t really take this aesthetic any further.
Taking sampled cues from the metric freedom and complex structures of classical works by Bartók, Stravinsky, Mahler, Paganini, Prokofiev, Elgar and Telemann, the Funk draws extraordinary links between their diametrically opposed paradigms; lending classical music a raving fire in the belly, while pushing the dynamics of jungle/D&B/breakcore to the nth degree. Paralleled in its intricacy by scant few others such as Aphex’s ‘Druqks’ album a few years prior, Snares’ efforts are arguably the last word in the original jungle formula of fast, choppy beats and sampling, and now interestingly sits equidistant to the OG sound and now for anyone making historic comparisons.
Boomkat Product Review:
A sought-after pinnacle of Venetian Snares’s early catalogue reissued, including his flip of Billie Holiday’s take on a banned Hungarian “suicide song”
Arriving in 2005 after Snares’ had established himself among the most thrilling artists of his time, ‘Rossz Csillag Alatt Született’ saw him sampling from stacks of classical records, as well as Billie Holiday, for a concept album that imagined him as a pigeon on Budapest’s Királyi Palota (Royal Palace). In one fell swoop the album tilted his sound from pure ryhthmic extremity to a more “grown up” elision of breakcore and classical music, including a number of compositions where he ditched the ballistics alltogether. It was kind of a watershed moment for us, an undeniably impressive feat of pointillist tracker programming and lush sample rearrangement, and also the point where we thought OK, he can’t really take this aesthetic any further.
Taking sampled cues from the metric freedom and complex structures of classical works by Bartók, Stravinsky, Mahler, Paganini, Prokofiev, Elgar and Telemann, the Funk draws extraordinary links between their diametrically opposed paradigms; lending classical music a raving fire in the belly, while pushing the dynamics of jungle/D&B/breakcore to the nth degree. Paralleled in its intricacy by scant few others such as Aphex’s ‘Druqks’ album a few years prior, Snares’ efforts are arguably the last word in the original jungle formula of fast, choppy beats and sampling, and now interestingly sits equidistant to the OG sound and now for anyone making historic comparisons.
Boomkat Product Review:
A sought-after pinnacle of Venetian Snares’s early catalogue reissued, including his flip of Billie Holiday’s take on a banned Hungarian “suicide song”
Arriving in 2005 after Snares’ had established himself among the most thrilling artists of his time, ‘Rossz Csillag Alatt Született’ saw him sampling from stacks of classical records, as well as Billie Holiday, for a concept album that imagined him as a pigeon on Budapest’s Királyi Palota (Royal Palace). In one fell swoop the album tilted his sound from pure ryhthmic extremity to a more “grown up” elision of breakcore and classical music, including a number of compositions where he ditched the ballistics alltogether. It was kind of a watershed moment for us, an undeniably impressive feat of pointillist tracker programming and lush sample rearrangement, and also the point where we thought OK, he can’t really take this aesthetic any further.
Taking sampled cues from the metric freedom and complex structures of classical works by Bartók, Stravinsky, Mahler, Paganini, Prokofiev, Elgar and Telemann, the Funk draws extraordinary links between their diametrically opposed paradigms; lending classical music a raving fire in the belly, while pushing the dynamics of jungle/D&B/breakcore to the nth degree. Paralleled in its intricacy by scant few others such as Aphex’s ‘Druqks’ album a few years prior, Snares’ efforts are arguably the last word in the original jungle formula of fast, choppy beats and sampling, and now interestingly sits equidistant to the OG sound and now for anyone making historic comparisons.
2022 Re-press. Limited edition bronze coloured 2LP.
Out of Stock
Boomkat Product Review:
A sought-after pinnacle of Venetian Snares’s early catalogue reissued, including his flip of Billie Holiday’s take on a banned Hungarian “suicide song”
Arriving in 2005 after Snares’ had established himself among the most thrilling artists of his time, ‘Rossz Csillag Alatt Született’ saw him sampling from stacks of classical records, as well as Billie Holiday, for a concept album that imagined him as a pigeon on Budapest’s Királyi Palota (Royal Palace). In one fell swoop the album tilted his sound from pure ryhthmic extremity to a more “grown up” elision of breakcore and classical music, including a number of compositions where he ditched the ballistics alltogether. It was kind of a watershed moment for us, an undeniably impressive feat of pointillist tracker programming and lush sample rearrangement, and also the point where we thought OK, he can’t really take this aesthetic any further.
Taking sampled cues from the metric freedom and complex structures of classical works by Bartók, Stravinsky, Mahler, Paganini, Prokofiev, Elgar and Telemann, the Funk draws extraordinary links between their diametrically opposed paradigms; lending classical music a raving fire in the belly, while pushing the dynamics of jungle/D&B/breakcore to the nth degree. Paralleled in its intricacy by scant few others such as Aphex’s ‘Druqks’ album a few years prior, Snares’ efforts are arguably the last word in the original jungle formula of fast, choppy beats and sampling, and now interestingly sits equidistant to the OG sound and now for anyone making historic comparisons.
Out of Stock
Boomkat Product Review:
A sought-after pinnacle of Venetian Snares’s early catalogue reissued, including his flip of Billie Holiday’s take on a banned Hungarian “suicide song”
Arriving in 2005 after Snares’ had established himself among the most thrilling artists of his time, ‘Rossz Csillag Alatt Született’ saw him sampling from stacks of classical records, as well as Billie Holiday, for a concept album that imagined him as a pigeon on Budapest’s Királyi Palota (Royal Palace). In one fell swoop the album tilted his sound from pure ryhthmic extremity to a more “grown up” elision of breakcore and classical music, including a number of compositions where he ditched the ballistics alltogether. It was kind of a watershed moment for us, an undeniably impressive feat of pointillist tracker programming and lush sample rearrangement, and also the point where we thought OK, he can’t really take this aesthetic any further.
Taking sampled cues from the metric freedom and complex structures of classical works by Bartók, Stravinsky, Mahler, Paganini, Prokofiev, Elgar and Telemann, the Funk draws extraordinary links between their diametrically opposed paradigms; lending classical music a raving fire in the belly, while pushing the dynamics of jungle/D&B/breakcore to the nth degree. Paralleled in its intricacy by scant few others such as Aphex’s ‘Druqks’ album a few years prior, Snares’ efforts are arguably the last word in the original jungle formula of fast, choppy beats and sampling, and now interestingly sits equidistant to the OG sound and now for anyone making historic comparisons.
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