These two pics are from the end credits of the "Bottle Flight" episode. Can't say I'm wild about the credits, but those are some pretty rockin' shades.

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(Those of you, including CB, who have contacted me about sorting more pics, I will be emailing you shortly. If any other obsessives want to help, nuclearbeef at gmai l dot dot d0t com.)

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Wonder what that weird pink splotch on her cheek is. Could Kari be a moonlighting rodeo clown?

I even wrote some perl to generate HTML for Kari posts, so Kari won't have wonder why there haven't been more updates!

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Kari, as she often does.. thinks this new arrangement RAWKS.

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(If anyone else wants to help pick pics, nuclearbeef AT gmail DOT DOT DOT COM)

Kari doesn't understand why I don't update more often, either!

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What 'chu talkin' bout, darwin?

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(If anyone wants to help me sort Kari pics, I will post more of them. I have a kabillion screenshots, I just need the help. But though there are thousands of you, none seem willing to help. nuclearbeef AT gmail D0t com. Shouts out to my homies.)

ABC's 'Lost' is over for the season, people are wondering what's up with the spooky island with all the spooky stuff. They told us just enough stuff, mercilessly killed some folks, made up some more crazy crap and of course.. the cliffhanger ending. Here's a quick fix for those who appreciate the show, a Willie Nelson gem that Hurley listened to in the first season episode 'House of The Rising Sun.' It's a good thing that they found that crazy hatch because otherwise the producers wouldn't have been able to reference popular music after Hurley's walkman ran out of batteries!

This track is one of the demos that Willie Nelson recorded when he was under contract to Pamper Records. These versions are are frequently much better than those he would record later. When I first saw the episode and decided to post this song, I bought a 3CD European box set which had 'Are You Sure' and it was a multitrack electric 70s version. No thanks. This kind of thing, all you really need is Willie, a guitar and a load of tape hiss.

(Shouts out to all the Lost fanatics. You know who you are.)

I'm really excited. I think these tests went extremely well. I mean, we found the butter zone : about one-third full is exactly what we need.

PHREAK : I'm sorry, we're sorry, just checking out your fly laptop!
NIKON : Yeah, it's hyped, you know... you're in the butter zone now, baby.

Is Kari Byron a fan of 'Hackers'? We report, you decide...

(Shouts go out to S. who is a fan of Hackers. Remember, no obscene comments about Kari. If any of you obsessives want to help me sort and post screencaps of Kari, please email nuclearbeef AT gmail.com. )

Sometimes when I'm listening to my Winamp shuffle, I come across a song by an artist I've never heard. In the best cases, this random play opens a window into a whole new world. First, I find out who the artist is and what label they're on. I then start collecting their work and other material on associated labels until I hopefully have many new entries in my "favorite artists" list.

Other times, I hear a good song and discover that it's literally the only good song by the artist. This club track from German acts Coburn and Einmusik is one of those cases. I hunted down the rest of their work and none of it really had the same feel or excitement. I even listened to everything else on 'Great Stuff' Records and was disappointed to find that it all pretty much sucks!

How can I like a remix of artist whose music I don't like by another artist whose music I don't like? I'm confused, but I can report for certain that I do rather like this track.

'We Interrupt This Program' is a piece of Techno-Pop fluff which I'm sure went over huge in the German market. It would never in six billion years be played on American radio, because it's a loopy little club anthem with more energetic glitchy edits than editorial foundation. I suppose I've become addicted to glitch-pop in 2006, perhaps my mind is going soft but I increasingly find myself wanting to hear music that's stumbling over itself. It also doesn't hurt that the lead synth is a new-school rave hoover sound and that all of the breakdowns are well constructed. Solid choon all around, really, and designed for the peak hour dance floor.

Einmusik is a group made of three DJs, one each of whom plays Gabber, Drum And Bass and Techno. Unfortunately, that unique pedigree doesn't show in most of their relentlessly typical music. I suppose that the quality of this remix is another case of every dog having its day. Weird.

(Shouts out to Moebius Rex, who I think of when I rock out to this track. Also shouts out to my man man, none other than Charles Ives and the cdub who brought him into my life.)

DJ Data Corruption is my anthromorphized DJ homie, and his funky fresh remix styles keep coming. Today's selection is one of the true classics of hip-hop, which Data has given an ultra-modern Data Dada remix... while I wasn't looking. I'm tired of the original, but somehow this mix is refreshing. Maybe it's just that I love lyrics like "Used to be a FAG / living in a BAG" or "broken glass / don't care / everyWHERE" but I could listen to this all day. Or at least the eight minutes (!) that DJ Data Corruption has dedicated to this remix.

Hoo lawd, don't push him. He's close to the... edge!

(For those of you who are here for Kari Byron stuff, I promise I'll post some more pics soon. Until then, check out these two Kari videos which reader Matthieu posted on youtube! Thanks, and if anyone wants to help me sort Kari pics, it's still nuclearbeef AT gmail d0t com)

'Samba Legrand'
from the forthcoming (May 2006) album Denies The Days Demise on Mush (US) and Ninja Tune (International)
Both tracks by Daedelus.

Behold, it is I, the Prodigal Beef. I have returned. This crazy 'real life' thing won't get the best of me!

Today's slices of Audio Beef come from Santa Monica experimentalist Daedelus. Longtime readers know that Daedelus is a Beef favorite because of the panache with which the man programs and performs his music. Most of all, his music reminds us that it's actually the twenty-first century... music is dead, long live music.

'Crazy Dancing' comes from a compilation on Mochipet's new Daly City Records label. It's an appropriately named mix of dancehall and IDM which is permeated with orchestral vibes. Like much of Daedelus' work, it has an almost-live feeling and a sense of humour that render the otherwise disjointed elements into a coherent whole. The samples evoke the early 20th century but the buzzsaw bassline is pure 2G-aughts. Downtempo meditation clashes with rave-style excitement and frantic transitions.

When I spoke with Daedelus at the Baby Godzilla record release party, he mentioned his love for 'Rave' music, and it definitely shows on Denies The Days Demise. 'Samba Lagrande' is a good example of an evolving style from a fearless Daedelus, a man who is clearly not pulling any punches. It also illustrates the Brazillian undercurrent which permeates the album. FM synths and video game sounds ride a chain-gang clap-step rhythm which sweeps and turns itself inside out and back again. By the time the towering anthemic vocoded bassline kicks in, it's clear to all in listening range that Daedelus has made an album with a measure of magic.

It's 2006, be on notice..

(Shouts out to my partner in crime and of course the cdubble, who enjoys herself some Daedelus. Kari Byron fans, I haven't forgotten about you. If there's anyone out there who actually wants to help me with the posting of pics, feel free to email nuclearbeef AT gmail d0t com)

'Don't Sniff Coke' (DJ Data Corruption Remix)
by Pato Banton from his 1987 album Never Give In, remix by DJ Data Corruption.

Today's Audio Beef is a post I shouldn't have to make. Suffice it to say that I'm concerned with the degree to which my extended peer group of young hip folks is cavalierly playing around with cocaine. I mean, I know you guys think that you're so much smarter than that, but what do you think.. you're so much better than 80s stockbrokers?

This isn't a new story, as the smoking track from Latin music titan Willie Rosario attests. His track my be from 1968, but it's a clever Boogaloo story about the costs of messing with 'The Shining Knight and His Big White Horse.' A scorching vocal from Joe Cuba veteran Willie Torres makes it clear that people understood the risks in the late sixties. Two decades later, Pato Banton drops the science about the relative merits of sensimilla and the dread (no pun intended white powder. Two decades after that, this mp3 was corrupted while transferring and given a deluxe remix by DJ Data Corruption, my anthropomorphized DJ buddy. The extended DJ Data Corruption mix is eight minutes long and makes me laugh while also making it very very clear why you should not sniff coke, only burn the ganja.

Seriously, y'all. Check yourself before you wreck yourself. That's my word.

(Shouts out to the smokers crew. All tight.)

A recent comment on this old post about Liquid Cop reminded me of an update I've been meaning to post for a long time. This is the first time I've done something like this, so I hope this post is properly respectful.

Here's what I said in that original post :

Liquid Cop is an enigma wrapped inside a mystery wrapped inside the Bay Area. According to this page full of CD-R treats at Aquarius Records he is from San Francisco, but I can assure you he is flying deep under the rader here. That's why he doesn't have a web page link... he doesn't have a web page.

It's a shame, because his album Data So Nice I Saved It Twice is one of my top ten of 2003.

I regret to inform you that my best friend, Kevin Rearden aka Liquid Cop, is no longer with us. He passed away last February at the age of 35. He was a pure genius to me. He allowed me the honor to design his CD Cover for "TheClearAlbumEP". He is my inspiration for making music myself. I actually wrote the original track for "webcam girl" when it was called "silent". Leave it to Kevin to freak it with some moan and groans and give us what he did. He made music for about 5-6 years. He used very few programs to do his music. I think it was just sound forge or something. I work on a mac so i'm not sure exactly. He worked on an old PC. He was not one for fancy gimmicks. Just record your hand hitting the desk and call it a base drum. Slam a cabinet call it a snare. That kind of guy. He was all about having fun in his music.

Actually he was just about having fun in life. Lord knows we had some good times. Kevin used to come to my house in the Mission every Saturday morning, smoke a joint, watch a little kung-fu, and make beats for the next few hours. He was so much fun to work with. He did not care about what samples were in it, cuz it's not about money to him. If he got sued, that would mean he hade made it to the mainstream, and if someone wanted to use his beats it would become their problem to get it cleared. He blatantly used metallica samples as a big fuck you to the industry and the overpaid bitches within that industry. He was the fuckin MAN. I really miss him, and I am glad that someone else out there got a chance to hear his genius.

hope this helps answer some questions. If you have anymore questions, please don't hesitate to ask. These things help keep his legacy alive.

Chris Davis
aka HiGRADE, QRIS24, WASABIONE, THE LAST TREE

We here at Nuclear Beef offer our sincere condolences to the family and loved ones of Mr. Rearden. We offer this post as an internet memorial to a talented individual whom the world lost too soon. We have posted his song 'My Neighbor Sidney Is From Brazil' as an audio tribute to his musical legacy. May he rest in peace.

(I have also contacted Aquarius records about finding a CD quality copy of this album, for archival purposes. If anyone out there has a copy that they'd be willing to encode lossless, I can provide archive space. It'd be a shame for this album to be lost to history. email to nuclearbeef at gmail dot com.)

There's a new Casiotone album coming out, and a few new releases are available at his recent live shows. Unfortunately for most people, he recently moved to Chicago and isn't going on tour again for a while. The new stuff drops at retail next Tuesday, but The Beef brings it to you today. (Yes, yes, I know that Young Shields and the new album are on P2P, but I actually bought this music. I went out and sourced something unique, which hasn't been posted already by 6000 mp3 bloggers. Imagine that!)

The first track is from an odd little CDEP, which collects a new track, two previously vinyl-only remixes and... this weird little cover of 'When You Were Mine,' a classic Prince B-side. I like Casiotone and I like Prince.. is it any surprise that I like Casiotone covering Prince? This track showcases the semi-gloss shine of the new Casiotone sound. He implied at a recent show that his record company had sent him some cash and hardware and it's clear he's been busy putting it to good use. You're not going to mistake this record for anyone else, but this cover and the new tracks he played at the live show indicate that he's definitely taking things to the next level.

'The Only Way To Cry' is a short songlet of classic Casiotone. A clever lyric and a dirt simple melody. Loverly. It's from a 7" on brand-spanking new Stationary (Heart) Records. This 7" is split with 3 tracks each from Fox Pause and Casiotone. According to their website, it's limited to 350 copies so you should hurry if that's your sort of thing. Personally I wish people would stop issuing music on vinyl. Fuck vinyl to death. Note the awesome scratches and pops on this BRAND NEW, NEVER BEFORE PLAYED 7". Oooh yeah, vinyl is awesome.

(Shouts out to Cinnacism and Cdub, who dig Casiotone. Also shouts out to Liza, who digs Prince covers.)

Because I've got some more Kari Byron Pics!

Here's Kari with a mischevious smile and a stripedy shirt. I'm not sure what episode this is from, but this is a bit of a different hairstyle and color for her. Nice!

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And here she is in that same yellow shirt from the car pancake episode. This is from the scene where her and Tory are buying the big rigs.

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Enjoy! And remember, obscene comments will be junked. Please don't waste your time or mine!

(I'm sorry for the delay, but I was hoping that some of the people who responded to my last plea for help would have picked some Kari Pics out for you all. Unfortunately, that didn't really pan out... probably because it took me so long to set everything up and mail everyone back. So, if there are those among you many Kari Byron fans who really have what it takes to wade through thousands of screenshots and providing them to me in a reasonable fashion... please email me at nuclearbeef AT gmail D0t com. Shouts out to Anthony V, who is down with Kari Byron.)

("I want to shoot you so bad... my dick is hard!")

I'm back, baby. I've been off doing various things which I find more essential and rewarding than entertaining random people on the internet. But you know... the motherfucking party doesn't stop. You can't stop the Beef Rush.

This album was completed on January 15th, 1991
By now, the war has probably started
And a whole bunch of people have probably died out there in the desert
Over some bullshit
There's a war going on right now in my neighborhood
But I really can't determine which one is worse
I think the one we're all fighting is fucked up
And that's the war inside our brains, you know?

It should go without saying that we here at The Beef do not necessarily agree with or endorse Ice-T's view on the first Gulf War. I do agree with him about one thing, though.. Fuck Tipper Gore.

I know that at least half of my readers only come here for pics of nerdy TV hottie Kari Byron, and that's dispiriting sometimes. But maybe some of you guys occasionally look at the other quality Beef which we here at Nuclear Beef strive to provide. Sure, the only people who ever comment about the music are people I know personally, but they're cool people and they have good taste in music. What more could a blog-guy ask for?

This post marks my 100th Music Audio Beef post, and what a weird ass journey it's been.

I've posted more than a few historical musical political oddities lately. I've also been branching out into weird (occasionally cheesy) electronic music, music which I wish I could post 10x as much as my free time allows. But the Good Lord knows that I'm a sucker for a well-written song by a well-respected songwriter. We've also done a few themed weeks to widespread indifference acclaim.

Many of the mp3 links in the above posts (the ones which haven't been wh0red by Russian mp3 indexing assholes) still work, so you should feel free to click around if you missed any Audio Beef. Thanks for visiting, even if you're only here for the Kari Byron pics. There will be more Beef to come, or my name's not C. Montgomery Burns Darwin. 2006 is the Year of Rip Fuel. What ever it is that you have to do this year, do it to it until the wheels come off.

(Extra special shoutouts to all of my friends out there. You know who you are.)

Rave may be dead, but the weird cheesy dance music keeps on coming. Today's slice of choice Beef is from the mostly loathsome genre known as 'Freestyle' which is basically a mix of cheese trance, happy hardcore and hip house. Yes, it's about as good as it sounds. If you don't know what any of those genres are, consult Ishkur's Guide To Electronic Music and reel in horror as you realize how truly awful the pedigree of 'Freestyle' really is.

I'm the man in town
I'm a sexy lady fucker
I get around
Cause I dress to impress
When I go out to dance
I drive a big shiny car
I leave nothing to chance
I'm the living black dildo
To fuck your ass
Make you come
So listen up when I say
I'm the only one (2x)
I'm a freestyle fucker!

(Extra special annoyed-me-until-I-linked-him shoutouts to Spitler at Why Aren't I Famous?, a new MP3 blog or something.)