sample tank

Do You Want To Drift With Kaiju?
Instrumental
Do You Want To Drift With Kaiju?

Hermann? (knocks)


Do you want to drift with kaiju?
C'mon let’s go and test!
You’re always in there doing math.
C'mon and ditch that trash.
Remember I’m the best.

We used to work together.
And now we don’t.
I wish you would tell me why.

Do you want to drift with kaiju?
It doesn’t have to be with kaiju.

Go away Newton.

Okay bye….

(knocks)
Do you want to drift with kaiju?
Or steal a jaeger as a prank?
I think some company is overdue,
I’ve started talking to
The samples in the tanks!

Hang in there, brain!

I’m feeling kind of lonely.
Everyone is gone.
I’m working out here by myself…!
(clink clank, clink clank, clink clank)

(knocks)
Hermann… We’re running out of options
The world is about to end
There isn’t much that we can do
But with me and you
We can still pretend

We’ll put our heads together.
And then they’ll see
That what I’ve said is true…

Do you want to drift with kaiju?

Newton serenades Hermann in the style of Frozen.

anonymous asked:

The anime you sample, my bad

I’ll break it down track to track and even though a lot are from those three this can also be used as the credits section of the album

INTRO contains samples and the instrumental from “One Piece Rap”, used in 4Kids’ dub of One Piece. Originally rapped by Shawn Conrad AKA Freshco

#DESU contains the instrumental of “Rapping 2 U” by Das Racist, which sampled “Shiki No Uta” by Minmi, from Samurai Champloo Music Record: Departure

WATASHI WA DAT N***A ft. BABEO BAGGINS contains samples of “PonPonPon” from Kyary Pamyu Pamyu

ANIMAY NI KOSHITE ft. YUNG PERM contains samples and the instrumental of “Natural ni Koshite” by Perfume

THATANKSQUAD ft. Y2G//DR.DUDE contains samples of “Tank!” by Seatbelts, from the Cowboy Bebop soundtrack

ANIMAY CRY contains samples and the instrumental of “Battlecry” by Nujabes & Shing02, from Samurai Champloo Music Record: Departure

TETSUO ft. AMMT contains samples of “Requiem” by Geinoh Yamashirogumi from Akira: Original Soundtrack, and “Kaneda” by Geinoh Yamashirogumi, from Akira: The Original Japanese Soundtrack

CRUEL INTERLUDE THESIS contains samples of “Cruel Angel Thesis” performed by Yōko Takahashi, from the Neon Genesis Evangelion Soundtrack and “Forest Interlude” by David Wise, from the Donkey Kong Country 2 soundtrack

SAILOR GOON ft. Y2G//DR.DUDE contains samples of “Moon Prism Power Make Up!” from the Sailor Moon OST, vocal samples from Sailor Moon

BANG BANG JUTSU ft. YOUNG SHOUJO contains samples of “Ninjya Re Bang Bang” by Kyary Pamyu Pamyu

DAISUKI DAT HO contains the instrumental “One Summer’s Day” by Sal, from The Best of Jazzin’ for Ghibli

ALL DAY ANIMAY ft. Y2G//YUNG $KRUF//DR.DUDE contains the instrumental “Numbernine (Back in TYO)” by Tsutchie from Samurai Champloo Music Record: Masta

An In Depth Look Into The Creation Of Each Song on the "Aaliyah" Album

IN-DEPTH LOOK INTO THE CREATION EACH SONG

The creators discuss the background of each song.

1. “We Need a Resolution” (featuring Timbaland) (Tim “Timbaland” Mosley, Steve “Static” Garrett)

Digital Black: “We Need a Resolution” was about relationships, a lot of songs with her were about her becoming a woman and coming of age. A lot of records dealt with stuff that people actually had to go through.

2. “Loose Rap” (featuring Static Major) (Steve “Static” Garrett, Rapture Stewart, Eric Seats)

Rapture: We always had a saying like “That’s just loose rap”. It was just a slang we would throw out there all the time. The day we did the track, the first line Static came out with was “loose rap.” He kind of mumbled the hook because he didn’t really know what words he wanted to use, but the only part that came out with was the “loose part”, so he decided to write about that. Pretty much that song was basically a term that we all already used anyway but we basically just turned it into the song. So that’s how he came up with the concept of the song.

3. “Rock the Boat” (Steve “Static” Garrett, Rapture Stewart, Eric Seats)

Rapture: “That’s actually a funny story because when Seats and I were doing that track, we were at the studio earlier before Playa came to the studio, we were working on that track, but the funny thing is we didn’t like it the way it was. It was just the beat and a couple of sounds and we were like ‘It’s cool, but we’ll come back to it.’ It’s funny because as we were going to something else, Static had just got there and they heard the song coming down the hall, so when he got there we already cut it off and he came to the door and was like ‘Wait put that back, what is that?’ He told us to pull it back up and he instantly got the melody and he went right in the booth and he didn’t do any words, he just put the melody down. And then the next couple of days, he did the whole song.”

4. “More Than a Woman” (Tim “Timbaland” Mosley, Steve “Static” Garrett)

Tim Barnett: “One night, Static was vibing to the track and the following day he recorded the first version. He went back and kept listening to it and didn’t like it and said ‘I can do something bigger and better to it’/ So he rewrote the whole record the next day. Aaliyah wasn’t at the studio at the time when Static did the first version, so she never got to hear it.”

5. “Never No More” (Steve “Static” Garrett, Stephen “Bud’da” Anderson)

Bud’da: “Just in itself…I was honored she ended up picking up that song because when Static wrote to it and wrote what he wrote, I was excited when I originally did the track because I did live strings and other things on there. The melodies Static chose, everything just worked out perfect. And thinking about those three songs, I was just happy with all three because they showed different ability and it showed different approaches to accent Aaliyah.”

6. “I Care 4 U” (Missy Elliott, Tim “Timbaland” Mosley)

Aaliyah had stated in interviews previously that the song was originally going to appear on her “One in A Million” album, but it did not make the deadline. The song was recorded in 1996

7. “Extra Smooth” (Steve “Static” Garrett, Rapture Stewart, Eric Seats)

Rapture: “In my opinion, Static is the best writer to me because he’s real and to the point with things. And like a lot of times Aaliyah would come and Static would ask what she wanted to do on the album, and she didn’t really write a lot so she would tell Static what she wanted to do. So she might just drop a bug in his ear and a whole song would come about. Pretty much most of the songs, Static would freestyle it and wouldn’t write anything down. So when a track would come on and he felt it, he would write it right there. From there, he would go in the studio and piece it together. He would basically go in and freestyle it and the idea would drop in his head. I guess at that time, they were having a conversation about how guys are so extra smooth. It’s funny because a lot of things that we would just around and joke about, they found their way into becoming a song, so that happened a lot on that album. We would just sit around and talk about various things and they would end up becoming songs.”

8. “Read Between the Lines” (Stephen “Bud’da” Anderson, Steve “Static” Garrett)

Bud’da: “This song started out musically as a whole other thing. Once Static laid his vocals, I was able to flip them and I’m pretty happy with how those songs turned out because as a producer, I’ve always wanted to not necessarily be pigeonholed in regards to what my sound is like ‘That’s Bud’da.’ I would rather known as ‘Man who did that?’ and then you go see the credit. I want to be attached with excellence. I was happy with all three songs because they showed diversity. I think “Read Between the Lines”, in the content that Static put and the way Aaliyah was able to articulate it, the vibe with it being somewhat Latin and the live percussion and horns that it just added something fresh that not only would be good for her, but something fresh. It had been done before, but not in that way.”

9. “U Got Nerve” (Rapture Stewart, Eric Seats, Ben Bush)

Rapture: “That track was kind of like the theme at the time. We had “Loose Rap” and “Those Were The Days” at the time. And the song was crazy because Static and Black are guys and they write it from a female perspective, but they were right on it. She would always just think about things she wanted to talk about. So when we were in the studio with Black, the song came about when he was like ‘You know what? I’m going to keep the theme and imagine a girl asking if a guy had nerve.’”

Digital Black: “Just knowing her and her character, I guess I wrote that song in a big brother perspective. You got to watch out for your little sister.”

10. “I Refuse” (Steve “Static” Garrett, Jeffrey “J-Dub” Walker)

J-Dub: “I don’t know where that came from. I was on one and I was just zoned out. While I was doing that track, I was working with Static Major and Static wrote the hell out of it. That’s the story on that one.” *laughs*

11. “It’s Whatever” (Steve “Static” Garrett, Rapture Stewart, Eric Seats)

Rapture:“I remember when we did that track. That was actually the first track that we actually laid when we were in the studio actually working on her album. So we finally got in the studio with Static and Black, we kind of just played down all the songs we had done and he marked off the ones he liked and that was one of the ones he really liked because he always said he liked the piano element in there. That’s why when he first heard that, he automatically was like ‘That’s the one I want.’ So that was actually the first track we actually did.”

12. “I Can Be” (Durrell “Tank” Babbs, Stephen “Bud’da” Anderson)

Bud’da: “This song started out one way and then I wanted to flip it so we wouldn’t deal with a sample issue. Tank had wrote that in California and he wasn’t able to come to Australia because he was doing promo for his album at that time. We cut the song without him in Australia and with her doing it so well with Static, she was able to understand ‘Okay this is what the person that laid it down is trying to articulate’ and she was able to put herself into it and be able to do it to where when she redid it, it’s not like Tank would say ‘No, that’s not working.’ So I enjoyed working on that song as well because it had an element musically for me to where it had been done before, but the element of doing Hip Hop/R&B with a tinge of Rock had been done before but not in that way before. It seems like someone may lean too much to the Rock side so it doesn’t feel like organic or they might lean too much to the Hip Hop side and Rockers might not appreciate it because the guitars don’t fit right. So I think it was a happy medium between all the genres that made that song, along with the content and her beautiful voice made it what it was. It was like sweetness singing over chaos.”

13. “Those Were the Days” (Steve “Static” Garrett, Rapture Stewart, Eric Seats)

Rapture: “We actually thought he was going to use that for something else. When he first started writing the song, we thought it was going to be a Playa record. He ended up changing it up and was like ‘I think I’m going to write this for Aaliyah.’ So he came up with the whole concept and everything, and when he put all of the lyrics and melody together, he decided to write it for her. She actually had come to the studio one of the days we were working on that, and then he sang her the melody and she liked it, so he made that a song for her.”

14. “What If” (Durrell “Tank” Babbs, Jeffrey “J-Dub” Walker)

J-Dub: “I remember Babygirl coming into the studio and I was playing her some beats. Then she was like ‘What are you working on now?’ and I was like ‘Well I’m not done with it yet,’ but I played it and it was “What If” and she just went crazy. She was like ‘I love it,’ so she picked that and Tank actually wrote the song in the States and then we recorded it in Australia.”

15. “Messed Up” [hidden track] (Ben Bush, Rapture Stewart, Eric Seats)

Rapture: “That track wasn’t going to make the record, but at that time while working on that album, because the time frame was so long, a lot of people were wondering what songs she was going to use. If whatever songs she wasn’t going to use, would the other songs be available? So everything was on hold because she got first pick. That was kind of the way we had worked with it. So “Messed Up” wasn’t going to make the record, but various people in the industry started inquiring about the song, because it was not on the final list. So she basically was like ‘Nah, I know that’s a good song. It’s just not going to make my album. But I’m going to use it as a bonus track, so no one else can have that song’. She liked the song, but that was the one when she had to narrow it down to the number of songs, that was the last one that didn’t make it so she ended up deciding to go with it as a bonus track. She didn’t want to give it away and use because she actually liked the record. Quite a few labels had called us and called Playa and called the office of Blackground inquiring about that song, so Aaliyah decided to keep the track.”