Ultraklystron - Revision4920: A Nerdcore LP|
All tracks written, performed, mixed, recorded and produced by Karl Olson unless otherwise noted. Copyright 2004.
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I might as well explain what possessed me to make a nerdcore rap album, particularly a nerdcore rap album which may define new lows in rhyme quality (the baloney-macaroni couplet in "Nothing Like Me" being an excellent example) and over all obscurity (if MC Plus+ and Monzy are shooting at "1 percent of 1 percent," I'm probably shooting at 1 percent of .0000000001 percent with this.) However, through some unexplainable twist of events, it actually did better than any of my previous individual efforts to sell my music before, it's resulted in some interesting media attention, and in general, made me vaguely more well known. I figure it's probably had atleast as much effect on my notoriety as the time I was quote on the back of the box for Spiral volume 5.
If I remember right, it all started when I heard MC Frontalot's "Rappers We Crush" collaboration with Kompressor. It brought Front to my attention, and the concept of nerdrap in general. I was further spurred forward after hearing mc chris and mc paul barman, and I really wasn't sold on it until I won an impromptu rap battle at BCC. I was really kind a timid about this. Odd considering some of my other previous experiments musically.
It's worth noting that I started this project in 2001 IIRC. Part of the reason it took me a while to get the CD together was because originally I wanted to do a lot more production collaborations. However, only 2 materialized in terms of content for the main part of the album (Blank Grid's and Galactic Boy's backings,) with 1 other being used as a remix (Nimrod Tsabari's backing, though technically it predates the version used on the CD.) In the lyrics, the artifacts of these collaborations still remain, such as the reference to "Entropy Cycle," a musician I'd hope to collaborate with, but it didn't come together ultimately. However, he's great guy, so I left the reference in anyway.
Speaking of remixes, I ended up with a lot of remixes basically because I felt there was no way I could ever get people to pay for a CD with 12 really niche, super-nerdy, geektastic rap songs on it. So, since I like remixing stuff anyway, I made remixes as I finished vox and basically had fun with some alternate takes. Besides, in some cases, it really allows for the lyrics to be viewed in a different light, which is neat, even if the lyrics are silly.
Lastly, the Prelinger Archives at Archive.org proved to be invaluable for giving the album a certain old skool edge and points, and providing great quotes at others. It probably wouldn't have been half as sonically diverse had I not been able to use those samples. I highly recommend to artist who wish to experiment with sampling without risking a law suit to go threw the Prelinger Archives. There are tons of great pieces of audio attached to all those old educational and otherwise public domain films.