My 11yo found this online and forwarded it to me. If you’ve never been to a modern Russian-Jewish wedding reception, it’s pretty much exactly like this, plus a vodka luge.
(Note the length of that track. That’s commitment to the gag, people.)
I’ve been woefully lax on the beats this month. All apologies; my event schedule, plus holiday prep and holidays, has had me running like the proverbial chicken. To make it up, I’m posting three deep-cuts today, all from back when I used to record annual Xmanukah Songs and had not yet developed crippling shame at my core musical incompetencies. Enjoy!
Found this in a stack of unlabeled 78 rpm records I bought off eBay, like, a billion years ago. No time to lay down a new track this week, so I just digitized this instead. Mysteries within mysteries, etc.
Since September I’ve been posting a new track each week. Nothing new this week (I’m in a cabin in the woods right now, and thus can’t upload new music; this post was pre-scheduled). In the meantime, here’s a little widget so you can listen to all of the tracks in one go.
Have a great holiday weekend! #gobblegobble!
Another remix of deep cuts from my crates of old Simpsons episode LPs and highly recognizable bits and bites from the original motion picture soundtrack for the 1986 cult-classic horror-thriller Churchville’s Purgatorio. (As with the last two installments, be advised that big bass demands big headphones.)
Another club-banger remixed from the soundtrack to the 1986 low-budget horror-thriller Churchville’s Purgatorio. (As with last week’s installment—also remixed from the original score to Churchville’s Purgatorio—be advised that big bass demands big headphones.)
A grimy little one-off aimed squarely at John Churchville—but the rest of you can listen in, if you like (pro-tip: Probably most fun on headphones or speakers with biiiiiiig bass).
Beats per Week installment number five, with another deep cut from the limited U.S. release of the 1994 film In the Celestial Monastery. Folks will recall this motif—worked much more gradually in the film score as it appeared in theaters—from the long montage in which Sieto and P’u finally begin to find a way to communicate with the Wanderers and their technology.