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Skip to content. Their accent. That is, the fact that they sometimes put on an accent other than their own when they sing.

Faking the Funk

Identity in song is a fluid thing. This turns out to be somewhat true according to Bill Beeman, a sociolinguist at University of Minnesota.

Beeman also happens to be an opera singer. However, his accent in each of these languages is acctually better when he sings than when he speaks.


Told y’all about Twitter and artists faking the funk… – About 2 Blow Radio

When copying an accent in song turns out, it is all about the vowels. Language is altogether is really vowels interrupted by consonants. But it takes more than just nailing the vowels to really nail a song sung in a different accent according to linguist and cover band singer Jane Setter. Rather than studiously emulating any one of his spheres of interest, the Ann Arbor-based producer injects his preferred genres with personality and unpredictability.

His latest project, X-Altera, is different in that it fuses a broad spectrum of influences and distills them into a unique hybrid sound as indebted to mids techno as it is to early jungle.

Main Source - Fakin' The Funk (Instrumental [1992])

While these practices are rarely mutually exclusive, X-Altera represents the most fluid merging of these strains in line with his discovery of Live as his newest production tool of choice. Before he started exploring the world of hardware devices in the studio, Mullinix initially produced his music using tracker software.

Tracker software sequences music primarily WAV files via a vertical timeline, using hexadecimal coding to control parameters including pitch, modulation and filter. While early incarnations for Amiga, Atari, Commodore and PC were primitive compared to the complexity of modern day DAWs, tracker software has a cult following to this day through modern applications such as Renoise. Largely produced alongside long time friend and collaborator Todd Osborn who adopted the wholly appropriate alias Soundmurderer , the Rewind Records sound was wild and aggressive, firing off classic tropes mined from the history of roughneck UK and Jamaican soundsystem culture.

As well as helping define the sound of hardcore and jungle as 4 Hero, Marc Mac in particular embodied the mutual appreciation between the emergent UK sounds and Detroit techno via the Nu Era alias.

No Faking The Funk

The X-Altera album, released on Ghostly International, certainly feels like a jungle-rooted album with its clattering rhythms, ample sub bass and familiar tropes. It was a technique pioneered by 4 Hero and championed by Goldie.

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Beyond the homemade breaks there are continuous appearances of bongo loops, synth stabs and zippy effects that hark back to the breakout years of UK dance music, many of which Mullinix credits with sourcing from the notorious Zero G Datafile sample CDs widely used by producers in the 90s. Although copyright infringement via sampling was already being clamped down on in the late 80s, sampling was still an emergent art form in the 90s and the legal implications seemed less imposing than they do these days.

To achieve the sample material he wanted, he would consider his desired sample source and try to emulate the feeling of a particular phrase, often slowing the sequencer down to make it easier to play the required instrumentation by hand. While it meant a lot of time spent editing and re-recording takes, it was also equally important to apply the right EQ and saturation to achieve the overall sonic quality that appealed to him in the original sample recording. International Refugee Assistance Project.

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  7. Sure, I was a little taken aback when he told me. It was our third date. I needed to think about things for a bit.

    Faking The Funk?

    I needed to decide how far down the road I wanted to go. It took me a little while to figure out the best way to be there for him. I think he still worries. I have a positive viewpoint.