BOYINSEA – COPYING ATLANTIS
The BoyInSea concept is primarily an EDM electronic dance mission branching from Junie Morrison’s roots as one of the founding fathers of Detroit techno.
Copying Atlantis is the first album from BoyInSea.
Released in 2010, it is an electronic soundscape project
written, produced and performed by über producer
and 1997 Rock and Roll Hall of Famer, Junie Morrison.
Buy Copying Atlantis
“The BoyInSea project began as an idea based in the realm of afrofuturistic, electronic dance music and sonic soundscapes that affect the visual cortex. In the fall, through winter of 2009 I was experimenting with various modular synths and noise-makers that I had discovered at the time, tweaking vocals and deconstructing my instrumentals. It was a matter of working toward the goal of creating something different; a cosmic story that employed man-made tools and bits and bytes to tell it. The year rolled over into 2010 and I began laying tracks using some of those ideas that came out of my explorations. After a few weeks of working on a separate project, and then going back to listen to the BoyInsea tracks, I found that I was pretty happy with the results.”
Buy Copying Atlantis
Back When Detroit Techno Meant, Evacuate Your Seats
In 1984 Junie Morrison released his sixth solo project; a futuristic, techno-funk album entitled, Evacuate Your Seats. This album with its live instruments, synthesizers, airy vocals, fiery riffs and digital-style sound effects all performed by Morrison, blazed up the charts and took the dance-floors by storm. Single releases from the album such as, Techno-Fréqs and Stick It In, totally messed with everybody’s heads and became instant hits, earning Morrison the reputation as one of the founding fathers of Detroit techno.The Evacuate Your Seats album was the precursor to many other tech-funk projects from Morrison. Some of these were developed in ghost production collaborations with other recording artists, while a number of them were released as singles and EPs, or A/B flips, as Morrison likes to call them, under various aliases the most recent being, BoyInSea.
“Evacuate Your Seats was an expression of where I felt we were going with music and technology at that time. It was a commentary on the future effects of the datastream and the impact it could have on our daily lives, from headphones to social structures, etc. The BoyInSea projects are coming from a slightly different place. They’re more akin to science-fiction movie music and based, essentially, in EDM. The tracks themselves include an eclectic mixture of electronic dance music genres; techo, deep house, trance and so on, with a taste of the Funk to enrich the flavor. Digital music technology plays a big part in the production of these tracks, including a couple of performance controllers, and groove production software controllers, although, I also play guitars, keyboards, bass and occasionally, live drums to enhance the sound and give the music that slightly analog feel.”
Electronic Dance Music and Copying Atlantis
At its core, the Copying Atlantis album is an EDM – Electronic Dance Music – concept, developed around a thematic vision of the future.
Morrison says, “Whether we are aware of it or not, we are attempting to recreate the city of Atlantis all the time, through our technological advances in travel, communications, and in the arts and sciences. Every day we improve upon ideas and build on what we discovered yesterday, always trying to better ourselves and outdo our creative predecessors all the way down to the atomic level. We’ve become very good at it, unravelling our DNA strand by strand, while looking back into our past with the sole purpose of identifying the items we want absorb and refocus, even reimagine for the tastes and demands of our current generation.”
Abducted by Aliens, Adopted by Hip-Hop
Just like the other creative arts and sciences, most of our music genres are based on something else, something that came before, and judging by the fact that a wealth tracks by Junie Morrison like, Funky Worm, One Nation Under A Groove, Suzie Thundertussy, (Not Just) Knee Deep and Pride and Vanity, for instance, have been sampled, recut, spliced and overdubbed time and time again by some of the most famous members of the Hip-Hop culture, including, Jay-Z, Dr. Dre, Kris Kross, J-Dilla (with Common and D’Angelo) and Kanye West among a long list of others, it’s clear that the music Morrison makes has a generational impact.
“Whether we are aware of it or not, we are attempting to recreate the city of Atlantis all the time, through our technological advances in travel, communications, and in the arts and sciences.”
– Junie Morrison
Storytelling, Food For The Soul
You get the impression that Junie Morrison is deeply aware of the value of being original, creating unique sounds accompanied by pristine, purposeful vocal and instrumental performances in his music projects, regardless of the genre.
One could agree that Morrison is the master of musical storytelling. On tracks like The Worm’s Turn and Stop Calling Me, he continues to prove that he possesses an innate capacity for building a complete visual and deep auditory experience throughout his productions, while allowing plenty of room for fun. It never seems to matter whether there is full-out lyrical content present on one of his tracks, or if it’s more about the groove, as on Number One Nation, the experience is always in full effect as his tonal structures come together to provide food for the soul and for the imagination.
Morrison seems to convey a spooky sense of timing when it comes to compositional techniques and afrofuturistic artistry. He is always ahead of the curve in reference to social and artistic commentary and he approaches these concepts through his music and writing, which are enhanced further by his uncanny ability for controlled abandon, as demonstrated on Atomic Playboy (ToTheFuture), for instance.
“…the new developments in music technology, instruments and computer software, such as the choices of professional DAWs – Digital Audio Workstations and the improvements being made in samplers and controllers, meant that I would continue to have limitless freedom to experiment with styles, and to be as sonically creative as I want.”
– Junie Morrison
When it comes to BoyInSea, Junie Morrison is relentless. He plays with the idea of universal beings interacting with the music of the cosmos. Presenting his communication with the stars through tonal expression, often without lyrics, sometimes with robotic voices, but always with boundless energy, as in the case of Will You Dance For Me (Funk You Mix).
Beautiful Puzzle Pieces
There are no fillers here. From the title track, Copying Atlantis, to Seeds to Ready 4 The Ride, every track is imbued with the kind of power and individuality that allows it to stand alone as a hit single. The mark of Morrison’s genius is in assembling these diverse tracks like beautiful puzzle pieces, organizing the album into a cohesive and intelligent work of wizardry, tonally balanced with intricate twists and turns.
Morrison says, “During my earliest days of discovering fantastic synthesizers like the Arp Soloist and Synclavier and using then them to create the foundations of tracks like Funky Worm and Techno-Fréqs, it occurred to me that the their sonic potency was going to play an important roll in the future of music. But I also realized that it wasn’t going to stop there. All the new developments in music technology, instruments and computer software, such as the choices of professional DAWs – Digital Audio Workstations, out there and the improvements being made in samplers and controllers, meant that I would continue to have unlimited freedom to experiment with styles, and to be as sonically creative as I want.
“However, no matter how experimental my productions might get, for me, it’s also important to maintain musicality. The thing to keep in mind is that the harmonics and melodics of a song or instrumental are the elements are that carry the listener to the place that you’re trying to create for them. These components are the brush and pigments you use to create the painting, so to speak. Having said that, once you put it out there, how the listeners interpret that picture in their heads is entirely up to them.
“Since the BoyInSea projects are in general lyrically sparse, combining the styles of funk, techno-funk, hardcore dance, electronica, European techno, rock, classical music, house and trance, I’ve tried to allow the music to speak for itself.”
And it does. Morrison has used his exceptional talent to mold the backdrop of richly textured soundscapes that flow from one track to the next to create his thematic imagery through the application of inspired, freeform, tonal expression injected with vocoder brilliance, booty shaking rhythms and undertones of nasty but tasty post-industrial funk. Copying Atlantis is a vibrant and somewhat esoteric concept telling its stories through rhythms and harmonies that reverberate in the mind and drum on the soul long after you have finished listening.
This project is boundless and timeless and has universal dancefloor appeal. Copying Atlantis successfully redefines conceptual technoid-funk and EDM techniques in a way that pushes it to the forefront of the realm of electronica.
Copying Atlantis from BoyInsea is currently available on the BoyInSea store.
Produced by Junie Morrison
Released January 2010
Buy Copying Atlantis
COPYING ATLANTIS – TRACK LIST
1. Will You Dance For Me 07:29
2. Stop Calling Me 08:04
3. Mello Move 08:59
4. Copying Atlantis 08:24
5. Ready 4 The Ride 06:55
6. Atomic Playboy (ToTheFuture) 07:44
7. The Worm’s Turn 05:33
8. Number One Nation 09:37
9. Seeds 07:51
10. Hey Hey (Hard Rock Mix) 08:27
11. Will You Dance For Me (Funk You Mix) 05:54
Copying Atlantis from BoyInSea is a seriously hard-core combination of amped up postindustrial techno-funk and haunting thematic electroscapes seamlessly blended together to create a unique collection of original and stylized dance music.
The Worm’s Turn treats the listener to a mid-tempo electrofunk-fest. It’s the kind of dance tune that will have you bobbing your head and your bootay wiggling so hard you just might slip a disc as the worm sound pulls your body this way and that! Length: 05:33
Will You Dance For Me is an electro-funk dancefloor stomper and so much more. This track grabs you from the start and makes you want to shake that thang till the fade. Even before the robotic vocoder voice asks, “Will You Dance For Me?” you’ll find that you’ve already answered the question, coz you’re gittin’ down, hitting’ the beat and funkin’ on the groove, like you mean it for real. Length: 07:29
Stop Calling Me could be described as a mid-tempo, straight-up, techno-dance track, but don’t let that fool you. This track is a synth-based foot-stomper that hits you where you live and has a way of raising your temperature and your energy levels when you least expect it. Since Stop Calling Me runs at over 8 minutes, you might want to keep some extra O2 on hand, because your going to need it. Will someboday answer that phone! Length: 08:04
MelloMove is exactly what is says, and so much more. This track is built around a mellow electro-funk groove with a upbeat tempo that seems to slide around in your head, and a strange haunting melody that takes you on an exotic journey through time and space. Its a funky techno-dance track with slippery synth lines and solid rhythms held together by artful arrangements that engage your imagination. Length: 08:59
Seeds is a haunting and inspiring electro-funk groove that literally grows on you. Length: 07.51
Hey Hey (Hard Rock Mix) is hooked-up! It’s a tightly knit avant-garde, electronic dancefloor track, that is cutting up the airwaves right now with an energetic hook and superhuman bass sequence that cannot be stopped. Sprinkled with hints of a Euro-dance feel that flow throughout the track, Hey Hey (Hard Rock Mix) is so fluid and deeply funky that it’ll make you want to shake it, so make sure you don’t break it. Length: 08:27
Article by Anna B. Sheriff