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BS 2000
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BS 2000 (also known as Beat Science 2000)[1] was an American rock and hip hop group formed by Adam "Ad-Rock" Horovitz (member of Beastie Boys) and Amery "AWOL" Smith (drummer for Suicidal Tendencies and touring drummer for Beastie Boys) featuring Janay North.[1] Their music features short instrumentals fusing hip-hop and electronic effects. Music on this album was inspired by the French underground band X-Ray Pop.[3]
Key Information
In 1997, BS 2000 released their vinyl-only self-titled debut. BS 2000 later released a limited-edition vinyl/CD, "Buddy", in 2000 and Simply Mortified on vinyl and CD in 2001.
A remix of their song "The Scrappy" (remixed by the Latch Brothers) was featured in the Xbox video game, Jet Set Radio Future.[2]
Discography
[edit]Studio albums
[edit]- BS 2000 (1997)
- Simply Mortified (2000)
Singles
[edit]- "The Scrappy" (2000)
- "Buddy" (2000)
- "Beach Blanket Boggle Boogie" (2000)
- "It Feels Like" (2001)[4]
References
[edit]- ^ a b c Hess, Mickey (2007). Icons of Hip Hop: An Encyclopedia of the Movement, Music, and Culture. Westport, Connecticut, United States: Greenwood Press. p. 111. ISBN 978-0-313-33902-8. Retrieved 16 July 2019.
- ^ a b Smilebit (February 25, 2002). Jet Set Radio Future (Xbox). Sega. Level/area: Credits.
- ^ Beauvallet, J. D. "Des invités de marque pour X-Ray Pop - Les Inrocks". www.lesinrocks.com/ (in French). Retrieved 2021-11-30.
- ^ "BeastieMania". Beastiemania.com. Retrieved 18 October 2013.
External links
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BS 2000
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Formation and history
Origins and early influences
BS 2000 emerged in 1995 as a collaborative side project between Adam "Ad-Rock" Horovitz, a founding member of the Beastie Boys, and Amery "AWOL" Smith, the former drummer for Suicidal Tendencies.[8] This partnership formed during a lull in their primary commitments, with the Beastie Boys on hiatus following their 1994 album Ill Communication and before resuming major activities in the late 1990s.[8] The duo's creative direction was heavily influenced by the French electronic act X-Ray Pop, whose minimalist fusion of hip-hop rhythms and synthetic sounds in the early 1980s provided a blueprint for BS 2000's raw, experimental ethos. Horovitz explicitly cited X-Ray Pop as a major inspiration for the project's sound, emphasizing their sparse production and innovative blend of genres.[9] Early efforts centered on hands-on experimentation in the mid-1990s, with Horovitz initially crafting tracks solo using the E-mu SP-1200 drum machine to layer beats and cryptic samples into brief, lo-fi compositions during Beastie Boys downtime.[10] Smith joined to handle sequencing and additional production, fostering a DIY approach that prioritized drum-machine grooves and fragmented electronic elements over traditional song structures.[10] These sessions laid the groundwork for the project's distinctive short-format tracks, often under two minutes, evoking underground club vibes.[8] Opting for independence, BS 2000 chose to debut through Grand Royal Records, the Beastie Boys' imprint founded in 1992, which enabled unfiltered release of their experimental material without commercial pressures.Key releases and activities
BS 2000 released their self-titled debut in 1997 as a limited-edition vinyl-only album through the Beastie Boys' Grand Royal label, featuring 23 short tracks characterized by drum-machine beats and eclectic samples.[11] This marked the project's first official output, limited to a small pressing that quickly became a collector's item among fans of experimental hip-hop and breakbeat scenes. In 2000, amid the Beastie Boys' ongoing activities including the release of their anthology Sounds of Science, BS 2000 issued the limited-edition Buddy EP on both vinyl and CD via Grand Royal, consisting of four tracks that previewed their evolving synth-driven sound.[12] The release was promoted through targeted singles and mail-order distribution, aligning with the band's low-key approach while Ad-Rock balanced commitments to his primary group.[13] The project's primary full-length album, Simply Mortified, arrived in February 2001 on Grand Royal in both vinyl and CD formats, comprising 19 tracks that expanded on their lo-fi electro style and received attention for its playful, chaotic energy.[14] This was followed by the promotional single "It Feels Like & The Scrappy (Mike D Remix)" later that year, featuring a remix by Beastie Boys' Mike D, which gained traction in electronic and gaming circles after inclusion on the soundtrack for Jet Set Radio Future.[15] BS 2000 supported these releases with a modest slate of live performances, including rare club shows in New York such as their April 2001 appearance at the Bowery Ballroom during their first North American tour, and opening slots for affiliated acts in the Beastie Boys orbit.[16] They also played international festivals, like the 2001 Reading Festival in the UK, showcasing high-energy sets of their short, sample-heavy tracks.[17] The band effectively disbanded around 2002 without a formal announcement, as Ad-Rock and Amery Smith shifted focus to their respective commitments with the Beastie Boys and other projects, ending the side venture after Simply Mortified served as Grand Royal's final release before the label's closure.[18]Musical style
Genre blending
BS 2000's music is characterized by a primary fusion of hip-hop beats and rock instrumentation, reflecting Ad-Rock's background in rap and AWOL's punk drumming influences.[10] This blend manifests in left-field rap structures layered over alternative/indie rock elements, creating a punk rap energy that contrasts programmed rhythms with live percussion adaptations.[19] The group's sound draws from hip-hop's rhythmic foundations while infusing rock's raw drive, evident in tracks that alternate between rapped verses and instrumental breaks emphasizing guitar-like synth tones and aggressive beats.[20] Electronic elements are integral, incorporating drum machines and lo-fi samples to produce short, frenetic tracks typically averaging 1-2 minutes in length.[14] Hip-hop roots appear in cryptic, playful lyrics, often delivered in a half-rapped, shouted style, paired with sampling techniques that evoke DIY experimentation.[10] These are contrasted by rock-infused energy through live drum adaptations, resulting in a chaotic yet cohesive aesthetic that prioritizes high-tempo urgency over extended compositions, as seen in albums packing over 20 songs into under 45 minutes. Influences include '60s and '80s sounds, as well as DJ culture breakbeat techniques.[20][10] The project's evolution showcases a shift from the raw, DIY hip-hop orientation of their 1997 self-titled debut—featuring solo-sequenced electronic breakbeats and lo-fi effects—to more polished electronic-hip-hop hybrids on the 2001 release Simply Mortified.[10] Early works leaned into experimental electronic and club/dance influences with minimal production, while later efforts incorporated refined synth-pop and alternative dance layers, maintaining the core genre fusion but with greater structural control and keyboard-driven polish.[21]Production techniques
BS 2000's production techniques were characterized by a reliance on drum machines and analog synthesizers to craft beats, often executed in rudimentary home studio setups. The duo frequently used the Roland SP-1200 sampler to capture and manipulate beats, alongside devices like the Rhythm Ace and sampled Maestro drum machines, which provided the foundational rhythms for their tracks.[10] These tools allowed for a raw, electronic hip-hop sound without heavy dependence on live instrumentation.[10] Sampling played a central role in their workflow, with creative approaches involving the capture of beats that were then looped and developed over extended playbacks to inspire keyboard parts before being faded out. This method emphasized minimal overdubs to maintain a stripped-back, unpolished aesthetic, aligning with their DIY ethos inherited from the Grand Royal label's independent spirit.[10] Recordings typically occurred in a damp New York basement studio equipped with basic gear, such as an 8-track Tascam DA-38 digital recorder and limited microphones, reflecting self-produced sessions on shoestring budgets.[10] The process favored quick turnarounds, as seen in the production of their second album, Simply Mortified, which was completed in approximately two months through intermittent writing and arranging sessions.[10] This release marked a shift toward digital elements, transitioning from analog 1/4-inch reel-to-reel tape to the more user-friendly DA-38 for easier handling and reduced maintenance.[10] Breakbeat techniques were incorporated by sampling and live-arranging rhythms, drawing from DJ culture influences while keeping the core driven by drum machines.[10]Members and collaborators
Core members
BS 2000's core membership centered on the duo of Adam "Ad-Rock" Horovitz and Amery "AWOL" Smith, who handled the project's primary creative and performance duties.[22] Horovitz, a founding member of the Beastie Boys since the group's inception in 1981, took on roles as rapper, producer, and multi-instrumentalist in BS 2000, leveraging the project as an experimental outlet for lo-fi hip-hop and electronic explorations beyond his main band's sound.[23][22] Smith served as drummer and co-producer, drawing from his experience with Suicidal Tendencies in the early 1980s—where he contributed to their self-titled debut album—and his subsequent tours as a live drummer for the Beastie Boys in the mid-1990s, infusing BS 2000 with punk-inflected energy.[24][25] The pair's collaborative dynamic emerged during breaks from Beastie Boys activities around 1995, with Horovitz typically managing lyrics and sampling duties using gear like the E-mu SP-1200, while Smith focused on rhythmic foundations such as bass lines and drum patterns developed on keyboards like the Farfisa organ.[10] This workflow, often conducted remotely between New York and Los Angeles before final assembly in a basement studio, shaped their debut releases like the self-titled 1997 album and 2001's Simply Mortified.[10]Guest contributors
BS 2000 occasionally collaborated with external artists and producers to enhance their lo-fi hip-hop and rock sound. On their 2001 album Simply Mortified, Janay North provided guest vocals on the track "Yeah I Like BS," contributing a playful, energetic delivery that complemented the band's keyboard-driven beats and added a layer of vocal dynamism to the song.[26][14] Mixing duties for much of Simply Mortified were handled by James Murphy and Tim Goldsworthy, founders of the DFA label, who brought a polished electronic edge to the recordings while preserving the project's raw, DIY aesthetic; their work on tracks like "The Scrappy" and "NY Is Good" helped bridge BS 2000's hip-hop roots with emerging dance-punk influences.[27][10] In the realm of remixes, the Latch Brothers reworked "The Scrappy" for the soundtrack to the video game Jet Set Radio Future in 2002, infusing the original track with intensified electronic breaks and synth layers that amplified its high-energy vibe and introduced it to a broader gaming audience.[28][29]Discography
Studio albums
BS 2000 released their debut studio album, BS 2000, in 1997 exclusively on vinyl through Grand Royal Records.[30] The 23-track LP features short, fragmented song structures averaging under two minutes each, drawing on lo-fi electronic production with hip-hop influences and satirical elements poking fun at futuristic trends in music and culture.[31] Standout tracks include "Nobody Beats BS 2000," "Bubbles," and "Go Get Lifted," which exemplify the album's playful, experimental vibe through Casio keyboards, sampled beats, and distorted vocals.[30] The band's second and final studio album, Simply Mortified, followed in 2001, available in both CD and vinyl formats on Grand Royal.[32] This 20-track release expands on the debut's electronic foundations, blending synth-driven beats with rock elements like live drums and punk-inflected energy, while incorporating cryptic humor and social satire in lyrics addressing issues such as sexism and consumerism.[33] Notable tracks include "The Scrappy," "N.Y. Is Good," and "Buddy," which highlight the album's appeal to DJs through its breakbeat rhythms and lo-fi dance grooves suitable for underground sets.[10] Production emphasized raw, basement-recorded aesthetics using affordable gear like Casio keyboards and samplers, resulting in a quirky, keyboard-jam-oriented sound.[10] Both albums were issued solely by Grand Royal, with vinyl emphasizing the project's analog, collectible nature and limited CD runs for broader accessibility. Despite no significant chart placements, they garnered a dedicated cult following in underground hip-hop and electronic scenes for their innovative, irreverent approach.[34]| Album Title | Release Year | Label | Formats | Tracks |
|---|---|---|---|---|
| BS 2000 | 1997 | Grand Royal | Vinyl LP | 23 |
| Simply Mortified | 2001 | Grand Royal | CD, Vinyl LP | 20 |