A one-of-a-kind spectacle featuring...
PUPPETS!: Be amazed by the brand new state-of-the-art robotic back up singer puppets!
DANCING GIRLS!: Be mesmerized by the sultry fan dances of Kid Koala's dancing girls!
MUSIC!: Hear kid koala classics as well as new tracks from the 12 Bit Blues being performed live by kid koala on 2 x SP1200s and 3 x turntables!
ROBOTS!: See the almost life size articulated Nufonia Must Fall and Space Cadet robots dance to the beat!
GIANT CARDBOARD TURNTABLE!: Watch the crew assemble a giant cardboard working gramophone on stage right before your very eyes!
PARLOR GAMES!: Win prizes by playing 12 bit blues bingo! And the funky roulette wheel of awesomeness.
In town for one night only! not to be missed!
And introducing Kid K's very special guests: ADIRA AMRAM AND THE EXPERIENCE (NYC)
Doing a hilarious high energy 20 minute musical comedy workout to warm things up!
Soundcrash presents a hilarious Cabaret show from the master turntablist...
KID KOALA’S 12 BIT BLUES!
THE VINYL VAUDEVILLE TOUR
with support from...
ADIRA AMRAM AND THE EXPERIENCE (NYC)
Tickets: £12 Early Birds, £15 Advance
Available from: www.soundcrashmusic.com
The O2 Academy Islington
16 Parkfield Street,
As a real, genuine kid, long before he became Kid Koala, Eric San wanted an E-mu SP-1200 sampler– the Ark of the Covenant of hip hop production, used by his idols and heroes and imbued with legendary, almost supernatural, audio powers by rap aficionados worldwide. Unfortunately, he worked out he would have to deliver around eight million newspapers to buy one. Now, having hit his thirties, Eric finally has the machine he always craved.
Of course, music production has largely moved on, so Eric began working out what he could do with it - a kind of reverse engineering back to his childhood self. A little mucking around and it came to him – the blues was always about stripping music back to its bare essentials, which is exactly what the SP1200 does, too. Over three days he cut up and reassembled the bed tracks for “12 Bit Blues.” No sequencing software was used. Using the pads on the machine and a multitrack, Eric played each part of the tracks in real time, before finally returning and adding cuts over the top.
The result is a really raw, immediate and strangely beautiful album, much like the music it draws on for its inspiration.