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Boom Bip, "Seed to Sun"
Lex
The year was 2001. I was in Columbubs, Ohio selling merchandise for a touring band when I only briefly shook hands with a friend of the guitarist, a really charming young gentleman named Brian. The following year, I was completely blown away by the sounds Brian (as Boom Bip) was generating in collaboration with the rap of Dose One in a small concert in Boston. I look back on that one concert night with fond memories as the sound was loud and the feeling was wonderful. Later on that year, he released his album, "Seed to the Sun." After Hollywood caught wind of the phenomenal breakthrough, he was soon composing film scores left and right and nobody ever heard from Brian again. His success was rightfully deserved, however. On the first seconds of that album he wowed the crowd by his sharp sense of musical composition, structure, playing abilities and production smarts, with an electronically-based driving beat layered by live bass guitar playing and thoroughly enjoyable musical progressions. From track to track, the feeling varied (ear-tingling beat-less digital drones of "Pules All Over," a campy drunken trumpet calliope on the brief "Newly Weds," a raspy rap by Buck 65 on "The Unthinkable," and the nasal, beat-poetry prose of Dose One on, "Mannequin Hand Trapdoor I Reminder") but the consistency never faltered. Influenced by hip-hop beats, New Order-esque high-fretboard bass guitar playing, synth pop, sampleadelics and space rock, Boom Bip was indeed a well-rounded child, albeit a bit unfocused at times, yet impressively talented.
The year was 2001. I was in Columbubs, Ohio selling merchandise for a touring band when I only briefly shook hands with a friend of the guitarist, a really charming young gentleman named Brian. The following year, I was completely blown away by the sounds Brian (as Boom Bip) was generating in collaboration with the rap of Dose One in a small concert in Boston. I look back on that one concert night with fond memories as the sound was loud and the feeling was wonderful. Later on that year, he released his album, "Seed to the Sun." After Hollywood caught wind of the phenomenal breakthrough, he was soon composing film scores left and right and nobody ever heard from Brian again. His success was rightfully deserved, however. On the first seconds of that album he wowed the crowd by his sharp sense of musical composition, structure, playing abilities and production smarts, with an electronically-based driving beat layered by live bass guitar playing and thoroughly enjoyable musical progressions. From track to track, the feeling varied (ear-tingling beat-less digital drones of "Pules All Over," a campy drunken trumpet calliope on the brief "Newly Weds," a raspy rap by Buck 65 on "The Unthinkable," and the nasal, beat-poetry prose of Dose One on, "Mannequin Hand Trapdoor I Reminder") but the consistency never faltered. Influenced by hip-hop beats, New Order-esque high-fretboard bass guitar playing, synth pop, sampleadelics and space rock, Boom Bip was indeed a well-rounded child, albeit a bit unfocused at times, yet impressively talented.
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