MP3 Liar's Rosebush - Thank-You Machines!
Ecclectic electronic music, from twitch-paced breakbeats to organic post-rock arrangements. Dense harmonic structures meet advanced rhythmic manipulations.
10 MP3 Songs in this album (49:13) !
Related styles: ELECTRONIC: Experimental, ELECTRONIC: Drum ''n Bass/Jungle
People who are interested in Aphex Twin Amon Tobin Venetian Snares should consider this download.
In 1995, at the age of twelve, Matt Rosen made his first recording with Radio Shack microphones and MOD trackers. Tired of the music he was hearing in his arts-school orchestra, Matt turned his ears to stranger sounds. Zippers zipping and denim ripping became ridiculous rhythmic patterns. Corrupt audio files turned into makeshift melodies. By his 18th birthday, Matt had saved up enough pennies to get some turntables and a sampler, and a local club promoter decided to sneak this underage kid in to play some gigs.
In the decade since, under a variety of names, Matt has played shows across Ontario, Quebec, and the north-eastern United States. His 2002 liar’s rosebush demo caught the attention of Immanence Records owner Dave Dando-Moore (better known as Ad Noiseam artist Detritus). Dave took a chance on Matt’s fusion of breakbeats, noise, and grooves, releasing the album None Higher to rave reviews. Out of the stagnant and too-serious world of rhythmic noise came an album that was – get this – actually fun.
Since then, Matt has moved from strength to strength and style to style, away from the confines of noise toward funk, hip-hop, and drum & bass. His collaborations with scrape[dx] grew from the abstract electro of collect : erase (2005) into the junglist mash-up beats of nonsense (2007). With the Hive Records solo album Circle the Squares (2007), the ROSEBUSH sound came into its own, mixing clinical beat programming with soulful, organic instrumentation.
In 2009, ROSEBUSH joined Canadian experimental artist commune The Meat Parade Collective for the release of the album THANK-YOU MACHINES! The record is an unique blend of precise electronic programming and wall-of-sound post-rock production, all stirred together with the sounds of answering machines.