#trainspotting born slippy

[gunsformars]

Spud <3

#trainspotting #ewan mcgregor #spud #sickboy #begbie #mark renton #chooselife #90s fashion #britpop #scotland #born slippy #grunge #90s aesthetic

[otyio]

uhm. actually. drive boy dive boy, dirty numb angel boy, in the doorway boy, she was a lipstick boy, she was a beautiful boy and tears boy and all in your inner space boy. you had hand girls boy and steel boy, you had chemicals boy, I've grown so close to you, boy and you just groan boy. she said come over come over. she smiled at you boy.

#the first few seconds of born slippy are to me whatever black parade was to mcr fans #trainspotting <3 i'll never stop thinking about u girl <3

[ueberdemnebelmeer]

🎶🎬 and 1996?

🎬 trainspotting

🎶 don't speak by no doubt (which i thought was from 1997 because it was on a festivalbar cd from that year which my dad used to play often on his van)

send me a 🎬/🎶 + a year and i’ll tell you my favorite movie/song from that year

#there's also born slippy from trainspotting's soundtrack - which is optimal brain food music 👌 #thank u 🥰 #i do hate that spotify songs aren't easily sortable by release date #had to dig up the external hdd with all my mp3s lol #ask game #answered #e 🚀

[talkiewalkie]

Trainspotting

there are a few pieces I want to make for this movie because I like it so much! I hadn’t seen it since I was really young, but Blake & I decided to watch it because blank check was doing an episode on it, so it’s pretty relevant to me right now.

I rotated this sideways so that social media doesn’t compress the image :(

All of my art is posted on IG: artworklynz

Tiktok: deathhgrips

#trainspotting #films #movie stills #fan art #procreate #born slippy #ewanfuckinmcgregor #movie art #digital painting #digital artists #movie study #small art account #danny boyle

[cuartoretorno]

Underworld - Born Slippy (Glastonbury 2016)

#Underworld #Born Slippy #Live in Berlin #(Electronic Beats TV) 2016 #Trainspotting #1996 #musica electronica #Electrohouse #electro pop #underground music #sex drugs and rock n roll #vans shoes #Vans Old Skool #cigarros pall mall #ron cartavio #Hot Topic #techno #‎trance #‎experimental

[ladygavgav]

Fragments of a Whole

New blog post: Fragments of a Whole.

If you’re a fan of the 1996 film Trainspotting, you’ll be familiar with the opening Choose Life voiceover. Here, the phrase is repeatedly used to describe aspirations such as owning a large television and having fixed-rate mortgage repayments. It almost tells a story, but not one with a linear narrative. We as listeners have to mentally join the dots. Later on, the film also features the dance…

View On WordPress

#blogging #born slippy #choose life #fiction #fragments #performance #poetry #trainspotting #writing

[slashetc]

Underworld - Born Slippy (HydeClip remix)

L I G H T | S Club | bl3ss3db3 (yt)

#trainspotting #deep house #electronic music #Born Slippy #SoundCloud

[spilladabalia]

Underworld - Born Slippy

Drive boy dive boy dirty numb angel boy in the doorway boy she was a lipstick boy she was a beautiful boy

#underworld #born slippy #karl hyde #rick smith #darren emerson #electronic #techno #danny boyle #trainspotting #ewan mcgregor #original soundtrack #1996 #Youtube

[harrison-abbott]

The ‘Perfect Day’ in Trainspotting is used expertly. But, so issss dissss … I don’t hear it so often but whenever it does come up it reminds me of that film. Glorious.

#trainspotting #born slippy #underworld

[lifeisstarcraft]

a little doodle i did at school of my favourite secretary. trainspotting reference!

because my handwriting is not good: he is singing "drive boy, dive boy, dirty numb angel boy" (lyrics from born slippy (nuxx) by underworld. <3)

#hermitcraft season 10 #hermitcraft fanart #hermitcraft #keralis

[suedeblueshoes]

trainspotting x britpop

#trainspotting #britpop #blur #oasis #pulp #suede #elastica #damon albarn #liam gallagher #jarvis cocker #brett anderson #justine frischmann #Spotify

[randomvarious]

Underworld - "Born Slippy" Essential Selection, Volume One by Fatboy Slim & Paul Oakenfold Song released in 1996. Mix released in 2000. Techno / Experimental

Plays: N/A on Spotify // 84.3K+ on YouTube

If you're someone who at least dabbles in electronic and dance music from time to time, then you absolutely *must* know the utterly strange and totally unique enigma that is Underworld's "Born Slippy." This is a tune that, against all odds, somehow managed to totally captivate the UK public in the mid-90s, reaching #2 on the country's singles chart, while also serving as the theme song to the Scotland-set Danny Boyle-directed film, Trainspotting. Plus, as what's likely to be the most popular techno song ever made, it's also probably the only piece of techno to ever so thoroughly penetrate the 'hip' and 'alternative' English-speaking music cognoscenti of the western hemisphere as well.

Now, there's a lot I could say about this provocative, mid-90s defining work of art, but I think the best way to describe it is thusly: essentially, there are two distinct, yin-and-yang modes to "Born Slippy." One is heaven, which consists of some iconically euphoric synth work and no drums, and the other is just pure fucking chaos, which chiefly contains hard and intense bouts of totally bugged-out and pummeling percussion 😵. And throughout both modes, Karl Hyde provides this mantric, barely sensical, partially improvised, and completely intoxicated stream-of-conscious narrative that seems to maybe be describing a very long and eventful night out. But a very important thing to remember with the studio version of this song in particular is that the two modes that are contained within it don't really overlap with one another; that is to say, outside of like, two small seconds, the synth melody that opens up the song and then returns somewhere in the middle doesn't touch any drums at all, and it's not until much, much later in the fullest version of this more than eleven-and-a-half-minute epic that you'll actually hear any sort of synth in a chaotic part, and those synths that do eventually manifest in one of those parts don't sound anything like the one that soothes in the beginning anyway.

But guess who went and totally fucked up this whole arrangement almost a full quarter-century ago? Fatboy Slim. Back in 2000, he and another piece of dance music's Mount Rushmore, Paul Oakenfold, put out a double-disc double-mix called Essential Selection, Volume One, and while Oakey's sublime trance set totally outshined Fatboy's less-than-stellar big beat and breaks sesh, there was still a three-song run nestled within Fatboy's set that was pretty damn killer, and it consisted of the following tunes, which were all pretty popular in the UK at the time:

Scanty Sandwich's "Because of You," a big beat banger that samples a young Michael Jackson and sounds like something that Fatboy Slim might've *cooked* up himself 😅;

"Born Slippy";

And my favorite downtempo track of all time, the Groove Armada classic, "At the River," which samples an old Patti Page tune and comes with some soul-piercing trombone on it too 😌.

So if you haven't clicked play at the top of this post, or you still haven't figured it out yet, what Fatboy Slim did with this section of his mix is he paired those heavenly synths from "Born Slippy" with the chugging snare-end of "Because of You," giving the opening part of this Underworld classic a great dimension of bounciness that it hadn't really had before. Fatboy raises the BPM on "Born Slippy" to make it match to those drums—and he's ticked those up a tad as well—and then after fading out of the Scanty Sandwich track and fucking around with the effects, he waits until a stacked-up drum part from "Born Slippy" arrives, in order to completely and effectively counterbalance it with the opening bars from the maximally relaxational "At the River," which had never had that level of percussion intermingle with it before either.

Fatboy Slim's probably not the greatest DJ in the world, but what he did with this mass-appealing trio of UK electronic tunes on this otherwise underwhelming mix of his from all the way back at the turn of the millennium definitely deserves more credit and attention than it's received over the years. Pretty nifty little section here, I think, with two great songs bleeding into and out of one of the most remarkable tracks of the entire 90s, "Born Slippy" 😋.

#techno #dance #dance music #electronic #electronic music #music #90s #90s music #90's #90's music #Youtube

[the-90s-music-colosseum]

firestarter vs born slippy is devastating, both so fucking iconic in different ways…. but I will say,,, was firestarter in one the THE 90 movies ever, I don’t think so.

Trainspotting supremacy 💪

#asks #underworld #trainspotting

[black---dahlia]

amphetamines, benzos (Norflurazepam) & not in the pic; Pregabalin, tianeptine, grapefruit juice (for the Norflurazepam), Valproat (at least something lol)

say yes to life or something 🤭

(yeah I love both Trainspotting films 🙈)

While. Listening to:

🥰

#snorting lines #lines #sniffing lines #opioid #benzo #amphetamin #actually traumatized #being borderline #norflurazepam #tianeptine #popping pills #happy pills #pills #pill poppers #Spotify

[ystk-archive]

[2016] Nakata Yasutaka × Karl Hyde (Underworld) Special Talk

Sound & Recording Magazine (November 2016) translation by ystk-archive | full-page scans

Welcoming the charismatic symbol of U.K. techno in an honest cross-cultural conversation about what it means to create

It's been about a year since the last entry in Nakata Yasutaka's irregularly scheduled cross-talk series. This time the guest is Underworld's very own Karl Hyde. Known for their song "Born Slippy," he's the frontman of the U.K. techno unit, and together with co-founder Rick Smith the two produce tracks and perform across the globe. If he meets Nakata Yasutaka, what sort of conversation will unfold? ...Our editorial department's dream became reality at "SUMMER SONIC 2016," where Hyde and Nakata spoke together.

〈 The ability to release many songs is an advantage of being a music producer 〉

—— To start us off, when did you first hear one of Underworld's songs, Nakata-san? Nakata: I heard "Rez" around the time I was a junior high student. "Born Slippy" came out when I was a high schooler.

—— What sort of impression did "Born Slippy" make on you back then? Nakata: At that point I was making nothing but instrumental music, and "Born Slippy" reinforced the importance of vocalists to me. Later on it was used in the film Trainspotting and, despite the fact that it wasn't meant to be a pop song, it had a worldwide impact. It was like the song itself was given a chance, or more people heard it because it was used in that movie.

—— As for you, Karl, what do you think of Nakata-san's music? Hyde: While I'm not much of a fan of what you'd call pop music, his songs sound fun to listen to. It's wonderful that music like this can be categorized under "pop music." How'd you get your start with music? Nakata: I began entirely from music-making equipment. I had been learning piano early on, but I wanted to fill my room with lots of machines. Hyde: Why was it that you wanted so much equipment? Nakata: I liked stuff I wasn't familiar with, or rather science fiction-type things, so I was usually playing around with electronics. It felt like I was experimenting by myself. If I had been more sociable or better at dealing with a lot of people, maybe I wouldn't have gone down this path (laughs). I might've become a singer-songwriter if I'd enjoyed singing and standing onstage, but I think becoming a producer worked out well. Hyde: Being a music producer is a good choice because they can release works with many different forms. For an artist, putting out too much material can exhaust the audience, or they'll see it like, "Oh, it's that person's song again." Though for me if it were possible I'd release five albums in a single year (laughs). Instead I take photos and write books to help satisfy my creativity. Nakata: Where does that creative drive come from? Hyde: That's an excellent question. I've found that as we age, there's a danger of becoming tired of the act of creation itself, or we may feel that we've done everything there is to do. However, in my case I've worked together with people such as Brian Eno and younger artists and I've gotten a lot of inspiration from them. Young artists especially have a sort of "I want to do this!" type of enthusiasm. My daughter is eighteen now and also in a band, and it's refreshing just being around her passion towards music. Collaborating with many different kinds of people will certainly draw out interesting ideas.

—— On the contrary, Nakata-san, where do you get your creative drive from? Nakata: There are many things that I want to do, and I think about what's next while I'm in the middle of doing the work that I have to get done. And I like instruments, so if a new one comes out I'm the type of person who wants to try it out. It's fun when they make it possible to do things that couldn't be done before and new sounds can be made.

〈 When you create the things you want to make, the end result will be honest and good 〉

Hyde: That reminds me, I was in Sapporo recently. Nakata: I'm actually heading to Sapporo after this (laughs). Because I'm DJing tonight. Hyde: Oh, that's an interesting coincidence (laughs). To tell you the truth, while I was in Sapporo I found a guitar I'd been searching ages for in a secondhand instruments shop, and I was so shocked to find it there that I just left immediately. The next day I went back and tried it out...but it was broken! (laughs) Nakata: There's a punchline for you (laughs).

—— What kind of guitar was it? Hyde: A 1960s Fender Duo Sonic II. Unfortunately I didn't buy it. But at any rate, [Rick Smith and I] have all sorts of instruments we collect. Every instrument's sound appeals to me, as if it's suggesting what sort of song to make with it. Nakata: Definitely. There's a part of me that feels like the instrument is guiding my arms. Hyde: Exactly. And just like that, you go on a journey with the instrument. Nakata: I mentioned before that starting bands isn't really my thing, and I haven't ever directly worked with somebody else on music*, but I always have a sense like I'm working with the inventor of whatever instrument I'm using. (*Translator's note: I'm not quite sure what was meant by this, as at the time of this interview [2016] there were several tracks where Nakata shared arrangement and composition credits with another musician.) Hyde: I understand where you're coming from. Have you spoken to instrument manufacturers? Nakata: They'll send me previews of things that are under development. Hyde: That's great. I think it'd be good if they got feedback from musicians. By the way, do you use more software or hardware? Nakata: My studio had piles of equipment everywhere back in the day, but now I focus on software. I even switched from a desktop setup to a laptop. Hyde: For Underworld's latest album Barbara Barbara we went back to the analog synths we worked with during the 1990s, but since we're on tour now we've been using laptops to write songs in the hotel and on the road. You can hear outside noises and whatnot in the recordings, but I think of those as sounds that we wouldn't have gotten otherwise.

—— What kinds of equipment do you use in your mobile set-up? Hyde: We record the guitar and mic through the audio I/O FOCUSRITE Scarlett or use an IC recorder to capture the surroundings. I'll even use my smartphone the moment I think hear something interesting and I get ideas for music from those recordings. The biggest problem for creation is continuing to do things the way you're used to, so I'm always searching for new approaches, new ways to play the guitar and so on. Nakata: Underworld's new album has a very wide range of sounds. Hearing you talk about the process, I wonder if that's the reason it turned out like that. Hyde: In my case I have Rick as a collaborator, and he pushes me to try new things. We approach making music like it's the same as playing a game. Looking back, I wanted to have a hit song with the band [Freur] I formed in the 1980s, but it didn't go so well, and the record company cut our contract...but we found that if we made music we liked on our own, we could come up with really great material. In the meantime the acid house movement was happening and it gave us a space to express our music. I think we were rather lucky to be a part of the trend at that time. Nakata: I completely understand. I think when you create the things you want to make, the end result will be honest and good. I'm always making sure I maintain that sense of doing what I want to do on my own terms with my unit CAPSULE. Hyde: Exactly. I don't think it's good to only make commissioned music. Nakata: I thought it'd be a smart idea to make a space for my main focus. Hyde: Could you give me an example of what they're looking for when you receive a request to produce something? Nakata: I'm generally allowed to do whatever I want, but when it's a production request, the type of environment the song will be played in is decided ahead of time, and along with it the tempo and atmosphere. So there are cases where I'll be in the mood to create intense tracks but I have to make easygoing ones.

〈 Being forced by a record company to make "music that'll sell" is selling your soul 〉

—— It seems like Underworld receives a lot of music production requests as well. Hyde: It was especially during the '90s with us writing songs for use in TV ads that were being made by [Underworld's design collective] Tomato, and we received criticism from people who felt they were hearing too much commercial music from us. But from our perspective, signing a contract with a huge record company and being pressured to create music that sells is more like selling one's soul. Commercial jingles are good for making a living, and that enabled us to explore creating music we actually wanted to make. So considering that your production work is popular and it allows you to pursue making music you enjoy, I'd say you've got a good system in place. Nakata: When I was getting my start on a major label though, there were a lot of problems. Naturally the record company wanted to create a pop star, so while we were shooting our artist photos, the cameraman wanted the vocalist [Koshijima Toshiko] up in front and told me to step back behind her (laughs). There's no helping the karaoke culture Japan has, but vocalists are treated like they're the stars of the show, and people like me who are in charge of making tracks were treated like we're stagehands...I told the people at the record company that they better photograph us standing side-by-side, the same way Underworld looked (laughs).

—— Incidentally, I've heard that Nakata-san would like to collaborate with other artists through his solo activities in the near future, right? Nakata: Yes, I'd like to try working with other trackmakers and inviting vocalists, rappers, and other sorts of people to collaborate with me. Hyde: That sounds great. Do you have anyone in mind? Nakata: Of course (he says while pointing to Hyde). Hyde: (laughs)

—— Seeing as Underworld were responsible for directing the music at the 2012 London Olympics opening ceremony, is there anyone you'd recommend for the 2020 Tokyo Olympics? Hyde: This man right here! (he says while pointing to Nakata)

—— Lastly, considering Underworld has been active for a long time, do you have any advice to give Nakata-san? Hyde: Like I said before, make sure that you aren't constantly retracing your steps. And when you get a new tool, always record the first sound you make with it! (laughs)

#nakata yasutaka #karl hyde #underworld #Sound & Recording #2016 #translations #interviews