This is a track taken from the full single WHAT'S SHAKIN' by SuperShaker. For Full single listening please go to ZICO'S (Boaz Goldberg) Bandcamp or any other streaming platform (Spotify, Apple Music, Youtube etc.)
https://zico3.bandcamp.com/
SuperShaker is a postmodern electronic duo from 1990's Tel Aviv
Super! (A-Side)
Shaker (B-Side)
All music written* & produced by SuperShaker
Compiled, edited & recorded @Dvirsky's Studio, Summer 1996
* (except samples)
SuperShaker are:
Dvir Volk - 90's sources (beats), programming, Midi, keyboards, editing & engineering
Boaz Goldberg - 60's sources, bass
SuperShaker photos: Noam Wind
Single assembled & edited by Boaz Goldberg
* * *
SuperShaker - another little treasure I discovered hiding in my cassette collection. This is a postmodern duo by Dvir Volk and me from 1996, which, like so many notable titles in the 90's, also received the word "super". The idea was to merge 90's big beats with samples of Mod bombs and Rhythm and Blues hits - and then, through the amphetamines that the samples get, to create something new. It wasn't what they called "Big Beat" back then. At the time we were working on SuperShaker, Fatboy Slim had yet to release his debut album, and his first single, released in March 1996, was not so impressive for our ears. We didn't understand exactly what we were doing, so, at least in our eyes, it turned out gracefully.
We didn't try to create something new in the modern sense of the word. Let's say that the atmosphere in which we operated was so postmodern, that in the show itself, under the influence of some promo photo of Syd Barrett and Pink Floyd from 1967, it was very important for me to show that my bass guitar was *not* plugged in, and this is to emphasize the synthetics of the music we created. I performed with the guitar on me but without any cable. I wanted to look sort of like a mannequin on Carnaby Street in 1966, and I think it worked. After all, our one and only performance took place at one of the Glory Nights Mod parties.
I remember myself standing there in front of the railing of the gallery, next to the DJ stand where Dvir was playing the tracks, and catching Gabi (Charlie Megira) on the stairs with Natan and Michal Boaz (his first girlfriend), staring at me, his eyes popping from the strange doll idea.
Dvir and I, SuperShaker. At the time we were both members of Cnaque/pop band going on a musical side project. While things in Cnaque/Pop became a bit nerve-racking about the contract that NMC would or wouldn't offer (there was a meeting at Cafe Tam, after which we were left in the air) - SuperShaker was a fun and refreshing release from all the Cnaque madness.
That summer of 1996, I hung around at the apartment of Dvir and his flat-partner Lisa Peretz, there in Arlozorov near Yehoshua ben Nun. Dvir was a golden guitarist, everyone knew that, but in the summer of 1996 - an early stage in his musical career - not many knew that Dvir also knew how to work with midi and create electronic music.
In the A-side track you hear, for example, the drums of Charlie Watts (who recognizes from which Stones song?) put on a loop and holding the whole thing. Or the Kinks' "You Really Got Me" riff being flipped and manipulated. And the crazy moogs from the easy listening classic "Kaleidoscopic Vibrations" also came to the party. The B-side came out more in the atmosphere of a band that we really loved then (and still love) - Saint Etienne. You can also feel strong lounge influences like Towa Tei (the Japanese guy from Deee-Lite) and Stereolab. After all, we are talking about a summer in which the phenomenon of Mike Flowers Pops was powerfully enchanting. For a few months, it seemed that the whole world turned into a beautiful Easy Listening album cover.
