He currently lives in Bergen. Records , Metaformal. Originally from Bergen , on the West Coast of Norway , K was baptized by the local rave scene albeit a very small one and intense early breakbeat and techno.
He quit school to pursue a sonic education, and started on a career path that would see him influence the scene that so clearly touched him in the first place. After his Dad nicked his gear off him as penance for his non-orthodox scholarly aspirations, K used his mate Teebee's PC to make tunes. Favorite Artists by dJeXq. Favorite Artists by Slapee.
Favorite Artists by Selectedworks. Bass Culture by ovahex. Favorite Artists by jbakteria. Watchlist by Thamightyryang. Master Release - [Help] Release Notes: optional. Submission Notes: optional. Black Beach J. Greenfield J. Merrie Dancers S. Swan LK C. Kisses Sweeter Than Wine H. Wild Mountain Thyme Trad. Thousands Or More Trad. When I'm Gone P. Ye Jacobites by Name R.
I had no problem with you, really, until you anonymously started removing Signature Recordings that are, undoubtedly, Neurofunk tracks -- back then you were just a gnat, easily swatted away it seemed.
Some tracks I listed could be considered Techstep as well obviously, because of the parent-child relationship , but they all still fall under the Neurofunk subcategory. Removing factual information and purposefully, maliciously replacing it with misinformation a bunch of Noisia tracks and your own personal opinion about what you feel Neurofunk should be, is vandalism. This is why I reverted as such, and will continue to revert as such until I can procure administrator involvement.
The mere fact that you'd rag on Kemal and place -- of all Neurofunk producers out there you could've listed, that are good examples of quality Neurofunk production -- Noisia above Kemal's production skill and track depth, is absolute blasphemy. I think even Noisia themselves would side with me on this argument. Think about it this way, if you can: Kemal made, as one person, more layered and musically complex and diverse DnB tracks than three people working conjointly Noisia ever have.
In laymen's terms, for mongoloids like you, that means that Kemal had more talent in the peanuts of his turds than Noisia does combined.
Vandalism and lack of taste in music aside, the way you edit in novice, page-long fashion under an IP address shows how little you frequent Wikipedia, and how this is the only article you've had anything to do with or care about -- because you want your own little "Robert-definition" of Neurofunk to stand for all time.
I've contributed positively to numerous articles on Wikipedia aside from just the Typecell article. You, on the other hand, have written factually incorrect parts of a single article, and severely vandalized the same article along with two others, then coming here to the talk page and, instead of typing anything to support your vandalizing edits or your point of view from a logical standpoint, you do nothing but insult me and shout veiled threats behind a computer.
Contributing lots of useless, incorrect rubbish to an article is basically the same as contributing nothing at all.
Anyway, I'll let you go off on your pointless, groundless tangent now. I emailed you about three days ago and you're just now getting back to me. Once again, I'm not the scared party here, as you're certainly nothing to be scared of -- unless you're taking a test or doing anything that might require abstract thought. So you're going to "sign up just to chase me? Thanks, Kraut. You, on the other hand, should feel like an even bigger, no-life loser than you already are yes, it is possible, as it just happened when you admitted you were going to sign up on Wikipedia just to stalk me online.
I have been contacted by Bakemono with an advocacy request for this page. From my review of the discussion page here, and the edit history, it would seem that the two primary disputants are Bakemono and I have already noted a lack of civility. If possible, I would ask those involved to maintain civility and clearly state, below, what the nature of their dispute is solely with regards to this page's content this is the purpose of a discussion page, not to list credentials nor to question credentials.
If you are looking to assert authority beyond wikiguidelines, I would suggest one of the many phD programs in popular music studies which are now active in both NA and Europe, and which do not consider wikipedia a scholarly -- which is to say legitimate -- source of information. Please remember the nature of the wiki project, refrain from personal attacks, and let bygones be bygones.
I await your responses. Please also remember to sign responses with 3 or 4 tildes. Thanks for the prompt response, WormwoodJagger. I would say that your assessment of the situation is correct. At present, we're the only active disputants. However, if you check back a little ways -- actually, under the exact same subsection which this whole argument originated, with Firstly, I apologize for my own lack of civility in this manner I realize I was also in the wrong there, and no, two wrongs don't make a right , but I tend to take being called an "idiot" for no reason whatsoever, along with being told "I know shit" about a musical style which I apparently know more about than the person claiming such a thing does , a bit personally.
Oh, and lest I forget: the 'declaration of war' bit, too. Had it stopped there, though, I would've gladly followed in suit and backed off and taken the hospitable path. But, it merely worsened. This whole article is rhetorical. This is absolutely ridiculous, since every artist has their own style, and every artist has their own pool of varied musical inspirations to draw from.
Dark jazz samples, dark soul samples, dark plucked bass-lines, what is it? This -- the "heavy Funk ingredient" point -- is the crux of his entire argument about Neurofunk, and one he fails to lend any credence to via any manner of substantial evidence. No audio comparisons, no artist interviews, no specific sample examples, nothing — only an old article by Reynolds that further proves him wrong more on this below. What makes a Techstep track Neurofunk is, put quite simply, its core funkiness and dance-friendliness.
This is absolutely unwarranted and is, to me, therefore vandalism. One thing I think nobody can contest, though, irrespective of their side in this debacle, is the fact that the Neurofunk sound is derived directly from Techstep, and shares vast amount of similar compositional elements with it. My take above was that Techstep was the father or mother and Neurofunk is the offspring that shares identical traits with their parent. Which is why I -- as have countless other posters -- said before, this whole article needs to be completely revamped.
In my logical opinion, given its nearly indistinguishable tie to Techstep, it needs to be moved and rewritten as a subsection of the Techstep article. And within it, in the interest of fairness to both sides, we should detail that there are these two primary opposing views about what Neurofunk really is. The almost humorous thing in this case is that However, on the other hand, if this is indeed the case and Reynolds is the true source albeit a vague one of the term "Neurofunk" and the authority that first defined the sound, then it clearly isn't supportive of what My dispute with him, From him, a cogent response is the furthest thing from his mind, because he doesn't want to take a civil route.
I suppose all we can do is wait and see. But eventually, he's going to come back and start up all over again. Thanks again, though, Jagger. Confusingly, the United Artists single release labelled the tracks on the 7" single as "Moonraker Main Title " for the version used to close the film and "Moonraker End Title " for the track that opened the film.
The song failed to make any real impact on the charts, which may partly be attributed to Bassey's failure to promote the single, given the last minute decision and the way in which it was quickly recorded to meet the schedule.
Paul Williams 's original lyrics were discarded. Finally in , Bassey sang the song for the first time outside James Bond on stage as part of a medley of her three Bond title songs. An instrumental strings version of the title theme was used in tourism commercials for the Dominican Republic. The score for Moonraker marked a turning point in Barry's output, abandoning the Kentonesque brass of his earlier Bond scores and instead scoring the film with slow, rich string passages—a trend which Barry would continue in the s with scores such as Raise the Titanic , Out of Africa and Somewhere in Time.
Moonraker uses for the first time since Diamonds Are Forever a piece of music called " " briefly, and late in track 7, "Bond Arrives in Rio and Boat Chase" , the secondary Bond theme composed by Barry which was introduced in From Russia with Love. Page: 1 1 2. Subtitles All Or Nothing. Pure Gold. Subtitles 50 Part 1. Subtitles 50 Pt1. Above The Game.Explore releases from Kjetil Dale Sagstad at Discogs. Shop for Vinyl, CDs and more from Kjetil Dale Sagstad at the Discogs Marketplace.