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[Tez]

Hush Hush

Boy 8 Bit ( Mad Decent, Trouble and Bass, Body Clap)
Giles walker

Saturday 28th Feb 2009
Origin
Market st, Below Hotel Metro
Aberdeen
11pm - 3am
Tickets £7

"Boy 8-Bit goes for a brilliant piece of arcade game music that sounds like the best track Jeff Minter never made"
Body Clap ..2 - Dj Magazine 4.5 out of 5

"Boy 8-Bit's awesome electronic masterpiece, which is something a bit special"
Long Jeanne Silver iDJ Magazine 5 out of 5

"Boy 8-Bit is a maestro when it comes to melodious bleep busting bangers"
One to watch 2006 iDJ magazine

Releases to Date:
'Turboloader' (Body Clap) *
'Long Jeanne Silver' (Body Clap) *
(Most places have this mixed up with Justins track!! My track is the one that sounds more like me!)


Remixes for:
DJ Touche 'Girls a Freak' (Southern Fried)
DJ Touche 'The Paddle' (Southern Fried)
Arthur Baker and Dave Clarke 'This Feelin' (Southern Fried ) *
Paul Masterson ' What you got, What you do' (Southern Fried)
Armand Van Helden 'When the Lights Go Down' (Southern Fried) *
Caged Baby ' Disco Biscuit' (Southern Fried) *
Phunk Electric -'Video Games Crash' (Southern Fried) *
Steve Miller - 'Abracadabra' (Ministry Of Sound) *
Alex Metric - 'U Ready' (Spin Out) - UNRELEASED
Digital Breaks Foundation - 'Come Closer' (Boom Box)
David Farlow - 'How I Roll' (Portamento)
The Loose Cannons - 'Girls in Hats (Fat Fox)
X-Press 2 - 'Kill 100' (Skint)
Acid Jacks - 'Awake Since 78' (Xylophone Jones)
Black Ghosts -'Anyway You Choose to give it'(VIP!) (Southern Friend)
Eames - Innaday (Fat Fox)
Philipe de Boyar - 'Formerly Unknown' (Genepoole Germany)
Full Mental Slackers - 'Auto Riot' (Trouble and Bass )
Devils Gun - 'Gold Dust' (Eat Electric)
Tommie Sunshine ft Peaches - ' Dance Among the Ruins' (Ultra)
Pomomofo - 'Back at the Club'
Synth Girl - Da Da (Unsigned!!!)
Hybrid - Higher than A Sky Scraper (Distinctive)
Lethal Bizzle - 'Selfridges Girl' (V2)
Grafton Primary - Change
Mika - Lollipop
Loose Cannons - WHYDFML (Flytip Johnson Remix (one half of...))
Chromeo - Needy Girl (Backyard)
Midfield General - Disco Sirens (Skint)
South Rakkas - Mad Again (Mad Decent)
Bumblebeez - 'Rio' (Modular)

Though his alias suggests otherwise, David Morris, who goes by the name Boy 8-Bit, didn’t grow up with a videogame console in his home. “My parents wouldn’t let me [have one],” he says. “They wanted me to have a computer as it was more ‘educational.’”

As a result, his first actual contact with 8-bit technology came not through Nintendo but early home computers like the Spectrum and Commodore 64. Whether intended for instruction or play, those initial dealings with technology clearly struck a chord. Morris possesses a seemingly meticulous knowledge of computers. And as Boy 8-Bit, he punishes processors to create a head-spinning brand of electro- and breakbeat-infused future house.

Morris, now 27, started DJing and making electronic music around the age of 15, employing a Commodore Amiga 500 and Octamed tracker software (an early sample-based program). He could create only simple tracks with such humble tools, but a few years later he’d find inspiration in a new piece of equipment. In 1999, Morris was making tunes on a PC using Cubase software–and not having much luck–until a friend gave him a copy of Fruity Loops. “I use it to this day for everything,” he says. “It’s awesome.”

With a newfound confidence to match his new set-up, Morris has been making certifiable bangers and garnering praise for remixes of Black Ghosts (Simian’s Simon Lord and DJ Touché), dubstep don Burial, and East London rapper Lethal Bizzle. “Any Way You Choose to Give It,” a reworking of a track by the former, “has been the one that really kicked everything off,” Morris explains. And though that song’s almost a year old now, Morris tells us he “still [gets] MySpace messages from people asking where they can get a copy.”

His productions are chock-full of ideas–lots of bass and breakbeats culled from hip-hop, jungle, and big beat, as well as plenty of chopped-up and screwed vocals–edited cleanly into a composed, wholly danceable thump that owes as much to Baltimore and late-’90s hip-hop as it does the British rave scene. “I like bass, I like melody, and I like dynamics,” he offers. “I’m just throwing things [together] to see what comes out.”