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Dean Blunt - Jill Scott Herring OST album flac

  • Performer: Dean Blunt
  • Album: Jill Scott Herring OST
  • FLAC: 1755 mb | MP3: 1431 mb
  • Released: 2011
  • Style: Experimental
  • Rating: 4.2/5
  • Votes: 255
  • Format: ADX DXD AC3 WAV MP1 DTS MP2
Dean Blunt - Jill Scott Herring OST album flac


A Jill Scott Herring OST 15:23
B Jill Scott Herring OST


Hype Williams

The Trilogy Tapes - 42 Releases - (Tuff Sherm, Dro Carey, Dean Blunt, Vereker, Madteo, Theo Parrish, Willie Burns, MGUN, Ben UFO, Kassem Mosse) 2009-2015, MP3, 192-320 kbps, Tracks. Download via torrent Download via magnet. Kassem Mosse - Untitled (Casse) Live Album 320Kbps.

2011 - Jill Scott Herring OST (Dean Blunt). Jill Scott Herring OS. p3. 2012 - The Narcissist II (Dean Blunt). 07 - Are you as good as I remember. 08 - The Narcissist (feat. 05 - DIRECT LINE .

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Artist: Dean Blunt Duration: 03:03 File type: mp3. Play Pause Download. other tracks: Dean Blunt. play) (pause) (download) (fb) (vk) (tw). Dean Blunt Jill Scott Herring OST. 14:06.

The Narcissist II. Dean Blunt. Dean Blunt and Inga Copeland. Jill Scott Herring OST.

Dean Blunt - Jill Scott Herring OST (excerpt).

Dean Blunt Jil Scott Herring Soundtrack. Rare sold out cassette release from The Trilogy Tapes by ex Hype Williams frontman. Dean Blunt Jil Scott Herring Soundtrack.

Introducing Dean Blunt’s Jill Scott Herring OST! It’s a cassette. It’s a cassette release limited to 100 copies.

Blunt is best known for both his solo work, as part of avant-garde group Hype Williams (featuring himself and Inga Copeland) and more recently, the groups Babyfather and Blue Iverson. He was also the co-founder of London rock band Graffiti Island. He has been described as "a prolific, category-rejecting artist" and "an art-pop provocateur. "Dean Blunt's Babyfather Project Announced an Album with the Most Incredible Art". Retrieved 8 November 2017.

Lingering behind the question of any electronic duo for whom the roles aren't clear cut is who, exactly, does what? Who's the genius and who's the hanger on? I recall it being roundly accepted that Cabaret Voltaire's Richard H Kirk was the ideas guy behind it all and the vocalist, Stephen 'Mal' Malinder, was just the talentless pretty boy...until Mal released a solo record of fuzzed up loops, heavily treated electro-acoustic weirdness that out-arted most of RHK's material. When Inga Copeland's solo 12" EP dropped a couple of months ago it appeared to be quite revealing: the tunes, production and ethos positively hugged that of her parent band to the extent that there were murmurings that she was the driving force behind the band, the ideas woman.Naturally, what with Dean Blunt's solo cassette-only EP appearing relatively soon after Inga's outing, close comparison of the two is inevitable. Blunt reveals his extra-curricular activities to be more experimental, less focused on the beat driven, dance-continuum side and more on the textural, soundscape approach. Fuzzed out, colour-drained keyboard chimes pulse into the ether while guitars, semi-industrial clangour, samples and other audio slime are smeared across the spectrum. This is drone. Part of the Hype Williams game is being blurry -not just sonically, but conceptually. Both records feature prominent bird-song and both make use of presets/textures employed elsewhere on Hype Williams releases (sonically, Blunt's EP is closer to Kelly Price W8 gain vol 3 than preceding releases) and so make the inevitable question of 'who does what in Hype' a tricky and slippery one.Of two things we can be certain: Blunt appears to be the trickster, the most adventurous and experimental of the two, while Inga's contribution can be seen to fall into the pop/dance side of things -though, I must note, this is not me tritely settling on 'girl does fun stuff, boy does brain work', no, Inga's compositions are just that: composed, structured and in possession of a heady intelligence. Dean just seems to reject the organisational principles on which dance music rests, preferring the spontaneous mix-up/collage of sounds that seeps and billows, like a gas, rather than the crunching machine that produces it.Overall, a great EP that, rather than demystifying the Hype situation, further (and gloriously) muddies it.
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