XtraKcts & ArtifaKcts
an Amazing New Release
from Papa Bear Records
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Diary Page
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Meanwhile, check out the CD info below.
the CD

by BPM&M

The Artwork is by Montreal artist,
Denis Rodier.

Yes, what you see on this page is part of the cd package.
In fact, the CD insert folds out to a mini poster of it.

And, the full size POSTER is now available from Papa Bear Records.
It's a large 18" x 26"
The Music is by BPM&M:

King Crimson drummer Pat Mastelotto, and Bill Munyon- Percussive Engineers and Sample Manglers!

Also featured: the voice and guitar of Robert Fripp, low frequency groove reinforcements of Tony Levin, Virtuoso Warr guitar musicality by Trey Gunn, Turkish synthesizer mastery from Cenk Eroglu, cuttings and snippets of vocals from Adrian Belew and David Byrne, tabla acupuncture lesson from Aloke Dutta.
Check It Out :

Hello Ghost excerpt (mp3)

WhatWereYouExpecting? excerpt (mp3)

elloH gHost excerpt (mp3)

Exerpts from some early reviews:

"Run, don't walk over to the Papa Bear Web site and get BPM&M. If you thought P2, P3, and P4 rocked and were cutting edge, you have not yet heard BPM&M.
Imagine P2, P3, P4 remixed, with humor added, and even more of a hard edge added. This is the best CD I've heard this year, and it is by far a work that equals the work of all of the Projeckts and perhaps even surpasses the work of some of the Projekcts!..."

"Keep it complicated." That, is exactly what rhythmatist Pat Mastelotto and Austin, TX sound sorcerer Bill Munyon have done with BPM&M, an experimental exploration that involves remixing an assortment of aural documents created throughout the years by legendary group King Crimson, it's associates, and other sources from beyond. With an assortment of computers, this literal dynamic duo have somehow managed to modify their laptops into musical electrocardiogram machines and have output a display of techno heartbeats previously unknown to mankind. The grand result is one aluminum and plastic-based compact disc containing sounds of nuclear beats and jungles of drone, compiled in measures of time that will have patrons of raves dancing on walls and exchanging the left sides of their brains with the right. And, it is highly safe (or unsafe perhaps) to say that the two have exploited modern technology to it1s finest and fullest, along with putting the group1s musical and philosophical thought processes through some rather intense digital therapy. A guitar is played by a saxophone, and tape machine transport mechanisms are put through some hefty isodynamic benchmark tests. Those are just minor examples of what1s going on in the grand scheme of things. But ": What were you expecting?!"
*** Toronto

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