Well, I don’t deny that I’m often misinformed. It’s the raison, if you will, of ANBAD’s être.
However. If you listen to the dazzling sample-driven achievements of early Public Enemy, Ill Communication-era Beastie Boys, early ‘joints’ from A Tribe Called Quest, and the like, it’s hard to ignore that the simple delights of finding good samples and chopping them to will may have been overlooked recently.
I don’t really know how Miró Belle makes his music, but I do recognise the playfulness of those sampling pioneers in throwaway bubble-hop songs like With Philice Glass.
To these ears, this song, like others Miró Belle has made, is a cluster of golden sound-slivers, all squeezed together until something especially lively emerges. Thus, compressed funk sax stabs rub shoulders with blues guitar ker-chunk noises, ear-splitting snares and hissing bass noise.
And that’s pretty much what a sampled song should sound like – a blizzard of bits and bobs, that perhaps oughtn’t work, but do. Simple, complex, silly.