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Not with us. Post-disco  house . Archived from the original on 2 August Retrieved 14 February Virgin Books. Archived from the original on 12 December Retrieved 6 August Archived from the original on 22 December Kevorkian soon began producing his own tracks after he learned that Benitez owned a four-track reel-to-reel machine.
Hoping to warp tracks for maximum dancefloor consumption, Kevorkian recorded dub-inspired cut-and-paste megamixes with splice and edit techniques, even adding special effects gained from movies and other sources. Kevorkian 's mix for Musique 's single "Push Push In the Bush " went gold -- despite an obvious lack of chart action -- and his productions for another Prelude act, D-Train , resulted in additional club hits like "You're the One for Me," "Music," and "Keep On.
Given his busy studio schedule, it's no wonder Kevorkian neglected his DJing during most of the '80s. He returned to form in , and traveled to Japan with Larry Levan for several high-profile gigs. Kevorkian became a label owner himself in the '90s; his Wave imprint provided a home for several of his own productions, including 's pioneering FK-EP.
He began producing early reel-to-reel cut-ups, patterned on dub techniques, which pushed bouts of much-needed experimentalism into disco. He then brought the dance treatment to scores of alternative bands and pop stars who needed it during the '80s and '90s.
Unfortunately, Kevorkian never spent as much time on his own productions, releasing very few singles though he helmed his own imprint, Wave Records. Born in Rodez, France in the mid-'50s, Kevorkian grew up in the suburbs of Paris, playing drums in several bands while studying biochemical engineering and pharmacy in college.
After deciding to chuck in his studies, he moved to New York and began playing with any pick-up bands he could find. His first important work in the club scene came when Kevorkian took a part-time gig at the club Galaxy 21, providing live fill-in drums for the DJ, Walter Gibbons. This decision brought upon mixed reviews throughout the music world. AllMusic 's Stephen Thomas Erlewine suggested that Deconstructed reflected Bush's need to diversify in the face of the fading post-grunge style.
Robert Levine of Rolling Stone also showed skepticism in Bush's sudden decision to jump into electronic experimentation after long establishing themselves as a stripped down hard rock act.
Nevertheless, he claimed, "they make the move more easily than one might expect. Ironically, it's one of the strongest musical statements he's made yet. But the trip-hop God is among a handful of artists who remix the band on Deconstructed "; and that while "Synapse" "oozes breathy seduction" and "Personal Holloway" "induces dancing, rather than moshing," Kim criticized "Swallowed" and called it "a clunker".Catalogue Number: SCBS Artist: Musique Side A: In The Bush Side B: In The Bush (Special Disco Remix By Francois K) Sleeve Grading: VG Record Grading: VG+ Label: CBS Label Condition: Name on B Country of Press: Great Britain Speed: 45 Format: 7" Release Date: