DeeJay Rhiannon - PornStep Mix Christmas 2010

Ho ho ho. On this very day of Christmas Eve 2010, Playmate DeeJay Rhiannon busts her latest mix PornStep with the new underground sounds of dubstep.

DeeJay Rhiannon – “PornStep”…

Artist: Deejay Rhiannon
Title: PornStep (DJ mix set)
Year: 2010
Comment: Intro edits & mastering by Hashmoder (Omar Hash)

Deejay Rhiannon – “PornStep” (mp3)
http://www.hashmoder.com/idisk/DJRhiannon_PornStep.mp3 (link path)

 

In Rhiannon’s own words…

PORNSTEP

No this mix does not commemorate any kind of pornographic performance debut.  Playboy is where I start and finish my nude modeling escapades.  My naked a$$ isn’t going beyond the 2-D realm anytime soon.  PornStep is simply the title of one of the tracks in this mix — which one exactly is very obvious.  And, word of warning, the track right after that one is likely to make you vomit.

DUBSTEP

To me, Dubstep is pornographic.  It’s like dirty obnoxious animal sex.  And I love it!  My manager says that I look like I’m having an epileptic fit when I dance to Dubstep.  I can hardly disagree.  My eyes glaze over, my legs and arms flail like a 90’s candy raver, and I become completely unapproachable.  I would imagine, however, that having an epileptic fit does not leave you with an afterglow reminiscent of a mind-blowing orgasm, like dancing to Dubstep does.  It’s incredibly empowering to connect with ‘extra-large’ music like that (it is my theory that if Dubstep wore clothing it would wear size XXXL).  I recommend that all who haven’t yet dabbled in a Dubstep dance floor do so immediately.  It is incredible.  So much so that upon seeing me dance at the “Church” Sundays Dubstep night in Pomona, my manager was inspired to book me there for the very next Sunday to open for the insanely awesome DJ/Producer APX-1.

MY DEBUT SET

Ummm… Flattering offer but… This is a hardcore local, underground scene.  It’s a tight-knit group of well-educated regulars and resident artists, a family, a culture.  If I was going to pop up out of nowhere and lay down a live DJ set for these people, I was going to have to do some serious homework!  So that’s what I did.  Prior to that day I had only really listened to Dubstep, I had never attempted to mix it at length or with any kind of sincerity (my manager didn’t mention this little detail to the promoter of course).  But I didn’t let him down.  In less than one week I became a Dubstep DJ and put together this set of tracks for my live debut set.  Well, the first two thirds anyway, the rest I just added for the sake of including them in the mix so I could listen to them without pause in between while driving.

TRACKS

This is basically a collection of the main tracks I’ve been jamming to in my car for the past year or so.  If you are a Dubstep connoisseur you have probably already heard most of these songs.  My goal was to compile and blend my favourites, not to be cutting edge or even that underground, though bits of it are.  The first half is nitty gritty and explores the cockles of your cockles: bass, filth, womp, grime, explicit sexual lyrics and all that fun stuff.  Then there’s a taste of that yummy dub reggae stuff, and I couldn’t exclude my fave track by the biggest midget in the game, Lady Sovereign.  The last bit gets deeper and more vocal, but still hot as f#ck.  The last few tracks are guaranteed to have you writhing in your panties.

TECHNICAL STATS

40 tracks in 80 minutes.  No I was not on speed nor any other kind of illicit drug when I recorded this mix.  I was simply… playing quick mash-up.  It was really fun.  There’s plenty I would change and tighten up if I had more time to prepare and re-record it but I had to get it out in time for the holidays for reasons disclosed in the first track.  So, bringing this monologue to a close… Friends and fans, here’s wishing you a Merry Dubstep Christmas and a bangin’ New Year!!!!!!

THE HASHMODER

Thanks again to the grand master Omar Hash for sound-designing the intro and mastering this entire mix like the true Jedi Knight he is.  Hit him up for all your audio engineering needs folks!!     Hashmoder’s contact page here.

DeeJay Rhiannon’s Current & Previous Mix-Sets…

CLICK HERE to view all of Rhiannon’s mix-sets listed in one page

Eurythmics are known mainly for a lot of their mainstream releases but not so much for what was supposed to be their first motion-picture soundtrack release –titled 1984– for a movie also with the same title.  Ok, that was a long sentence.  I’ll simplify my point: Eurythmic’s 1984 was the soundtrack for the 1984 movie which was based on George Orwell’s novel:  1984/Nineteen Eight Four. Phew!

Back in 1984, I bought the LP vinyl & cassette of Eurythmics’ 1984, as well as the 7″ and 12″ singles of Sexcrime.  This entire album is actually my very favorite of any Eurythmics’ release.  It has all the synth-pop, electronic elements with Moroder-esque basslines, drum machine polyrhythms, stuttering vocal samples, layers of synth pads, lush sound engineering & mixing, seas of processed reverb and cutting-edge dark-noir feel to it all (with a touch of pop sparkles on top).  It’s pop and SERIOUS at the same time.  Timeless.  Emotional.  Deep.  All in all, 1984 is different in style & sound from Eurythmics’ previous forte, falling somewhere between Peter Gabriel’s Birdy soundtrack and The Art Of Noise.

Play Eurythmics “1984″ LP/Soundtrack…

Eurythmics 1984 Tracks…

  • Track 01 – I Did It Just The Same  (mp3)
  • Track 02 – Sexcrime (nineteen eighty-four)  (mp3)
  • Track 03 – For The Love Of Big brother  (mp3)
  • Track 04 – Winston’s Diary  (mp3)
  • Track 05 – Greetings From A Dead Man  (mp3)
  • Track 06 – Julia  (mp3)
  • Track 07 – Doubleplusgood  (mp3)
  • Track 08 – Ministry Of Love  (mp3)
  • Track 09 – Room 101  (mp3)
  • Review of ’1984′ by DjProject…

    Review by DjProject…

    When Michael Redford set out to make a film adaptation of George Orwell’s well-known dystopia Nineteen Eighty-Four, Sir Richard Branson (Virgin was producing the film) wanted to have a pop act to contribute to the soundtrack. And so he brought onboard Eurythmics (still signed to RCA at the time). Although only a few of the cues were actually use in the theatrical cut and subsequently for laserdisc and DVD they were all but absent from the film (Eurythmics have become “unpersons” =] ), this is a fine alternative soundtrack to the work, both the novel and the film.

    If Eurythmics were known solely for their pop sensibilities, this album would demonstrate their creative talents. The thing that makes this album stand out is the way it’s able to capture the mood and spirit of the world of Oceania. The sound is very modern and accessible to today but there’s a unsettling trait running through the album that compliments a future run by the principles of Ingsoc. Perhaps the best example in this album is “Greetings from a Dead Man.” The percussion makes it very dance-like yet the organ/synth sounds and Anne Lennox’s vocalizing give it a dark quality. This could very well be the first cyberpunk soundtrack =].

    This is perhaps why Michael Redford disliked it so much. He was much in favor with Dominic Muldowney’s orchestral score. While Muldowney’s score is a good traditional film score and points to Orwell’s inspiration (the music is very “social realist” and would fit well with a socialist/communist band’s repertoire), it does very little to really explore and solidify the dark mood of the film. For an example, “I Did It Just the Same” was used (albeit in a slightly different form on the film) when Winston was recounting his encounter with prole prostitute. The rhythm track, the striptease-like synth bass and the other electronic oddities (Anne’s vocalizations were not on the film cue) help to amplify the sexuality in the scene, a verboten idea in the world of “1984.” Muldowney’s score just doesn’t cut it (pun intended).

    While most Eurythmics fans would consider this a curiosity, I think it helps them to be seen as artists in their own right rather than just a pop group who happened to be at the right place at the right time. As for its failed use in the film, all I can say that I’m sorry that Michael Redford failed to see what this soundtrack could have done for the film.

    Page 1 of 1 1