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Especially after Shellshock, you need something to clean the slate. MvS: “This is just a little segue, or a little palate cleanser on the album. Sorry for the noses broken and glasses shattered. We will always remember the moshpits and ‘walls-of-death’. “What they did do was so explosive! Shellshock was an important tune for us. We first tried a vocal version of Split The Atom, but that didn’t work. So we asked them to come over and they were down. MvS: “Foreign Fucking Beggars! The Homies! First heard their rap music in a car in France (they’re huge in France, always have been) and really liked their respective voices, but most notably the dynamic between them. It reminds me of our old Hustle Athletics alias: a 128bpm filtered house track we did - Feel For You on the Lekker EP - was similar.” Arguably, Noisia & Teebee’s Shower For An Hour could claim the funk samples title, but it was at 172bpm. Martijn van Sonderen: “This was us going all out with bitcrushed filtered funk samples at 128bpm we hadn’t really done it as Noisia yet. It was good the way it was! It was only a minute and a half no need to add any more.” Red Heat
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This was one of those things that we never arranged into a full track. NR: “Resampled retriggered bass sounds, ominous bells and (a little too) aggressive half-time drums. We all loved the sound of the snare/hi-hat combination on this.” Headknot The splitting of the work isn’t conscious up to that point, but from that point we usually work on stuff more deliberately and plan who does what. Sketches can come from everywhere, but the decisive moment is when we all agree that something is worth finishing. The most important thing we do together is form consensus. NR: “This was started by me in Australia. “We’d gotten so used to it the way it was: short, funky, not much more than a little weird daydream, but nice in that format.” Hand Gestures We’d gotten so used to it the way it was: short, funky, not much more than a little weird daydream, but nice in that format.” We tried writing it out as a regular full song, but ended up only changing it slightly. NR: “This was one of the tracks that had been around as a sketch for a while when we started writing the album. It was also inspired by some of Black Sun Empire’s early work, mostly B’Negative. His approach to using effects and writing melodies was something we really wanted to apply in a DnB track. NR: “This was influenced by Stephan Bodzin. But at that time, we also ran across DJs in the UK breakbeat genre at our shows that were an inspiration as well.” Thursday We were very much into a lot of music at that tempo: Justice, Daft Punk and the lesser known heroes in that world. Looking at it now, it’s a bit weird that it comes so early in the album, though!” We loved the idea of including this little skit on the album. In 2005 we had a little documentary made that definitely highlighted this part of our image. NR: “We thought it was important to not present ourselves as very serious and angry boys making very serious and angry music, from the beginning. The vocal was very inspired by Commix’s Be True.” Shitbox The bassline was the result of an experiment in FM8, making a diving bass sound that switches its emphasis from fundamental to harmonics as it dives down, almost like a Shepard tone. NR: “This was released on Ram Records before the album was released, but we liked what it did when we were sketching up early track lists for the album. We wanted it as first tune on the album because we were, and are, really proud of the intro and the way it’s in a different dimension from the drop part but still ties in.” My World It also started as an idea for a remix we never ended up doing.
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Nik Roos: “This started with a synth sound (I think there was some oscillator sync involved) from the free Japanese Synth1 VST and a bunch of reverb automation. Tracks like the frenzied Alpha Centauri quickened the pulse with their punishing breaks, while the titular Split The Atom shocked and amazed as it thundered along like a mutant house record hopped up on beefcake pills. Like their heroes, The Prodigy, the resulting fusion was a genre unto itself. The result was a pure blast of sonic warfare, and over the course of its 19 tracks the album cemented ‘That Noisia Sound’.
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There are nods to the drum 'n' bass scene of that time in there - specifically, the 2000-era neurofunk sound - as well as touches of people like Justice, Amon Tobin, Tipper, The Prodigy, Opgezwolle, some 90s hip-hop, video game soundtracks and movie scores.” Between the three of us, we wanted to mix up all the things we liked and, as a whole, for it to be a good representation of what we were about and what set us apart from the rest. “And we wanted to prove that, artistically, we were more than the tunes we were known for at the time. “We wanted to show what we could do,” says Roos.
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