Accordion

A piano accordion (top) and a Russian bayan (bottom)
Keyboard instrument
Other names	Danish (free-bass): Accordeon. Danish (standard-bass), Hungarian & Icelandic: Harmonika Portuguese:Acordeão or Sanfona French:Accordéon German:Akkordeon Greek:Ακορντεον Italian:Fisarmonica Norwegian:Trekkspill Polish:Akordeon, harmonia Catalan:Acordió Dutch:Accordeon Russian:Bajan Castillian:Acordeón Croatian: Harmonika Slovenian:Frajtonarca Swedish:Dragspel[1]
Hornbostel–Sachs classification	412.132 (Free-reed aerophone)
Developed	Early 19th century
Playing range
Depends on configuration: Right-hand manual Chromatic button accordion Diatonic button accordion Piano accordion Left-hand manual Stradella bass system Free-bass system
Related instruments
Hand-pumped: Bandoneón, Concertina, Flutina, Garmon, Trikitixa, Indian harmonium Foot-pumped: Harmonium, Reed organ Mouth-blown: Melodica, Harmonica, Laotian Khene, Chinese Shēng, Japanese Shō Electronic reedless instruments: Electronium, MIDI accordion, Roland Virtual Accordion
Musicians
Accordionists (list of accordionists).
More articles
Accordion, Chromatic button accordion, Bayan, Diatonic button accordion, Piano accordion, Stradella bass system, Free-bass system, Accordion reed ranks & switches

The accordion is a box-shaped musical instrument of the bellows-driven free-reed aerophone family, sometimes colloquially referred to as a squeezebox. A person who plays the accordion is called an accordionist.

The instrument is played by compressing or expanding the bellows whilst pressing buttons or keys, causing valves, called pallets, to open, which allow air to flow across strips of brass or steel, called reeds, that vibrate to produce sound inside the body.^{[notes 1]}

This instrument is sometimes considered a one-man-band, as it needs no accompanying instrument. The performer normally plays the melody on buttons or keys on the right-hand manual, and the accompaniment, consisting of bass and pre-set chord buttons, on the left-hand manual.

The accordion is often used in folk music in Europe, North America and South America and in some countries, such as in Brazil, it is also commonly used in mainstream pop music. In Europe and North-America, it is often associated with busking. Some popular music acts also make use of the instrument. Additionally, the accordion is sometimes used in both solo and orchestra performances of classical music.

The oldest name for this group of instruments is actually harmonika, from the Greek harmonikos, meaning harmonic, musical. Today, native versions of the name accordion are more common. These names are a reference to the type of accordion patented by Cyrill Demian, which concerned "automatically coupled chords on the bass side".^[2]

Construction[link]

A diatonic button accordion being played.

Accordions are made in a large number of different configurations and types. What may be technically possible to do with one accordion could be impossible with another:

• Some accordions are bisonoric, meaning they produce different pitches depending on the direction of bellows movement
• Others are unisonoric and produce the same pitch regardless of the direction of bellows movement
• Some accordions use a chromatic buttonboard for the right-hand manual
• Others use a diatonic buttonboard for the right-hand manual
• Yet others use a piano-style musical keyboard for the right-hand manual
• Some accordions are capable of playing in registers different from others
• Additionally, different accordion craftsmen and technicians may tune the same registers in a slightly different manner, essentially "personalizing" the end result, such as an organ technician might voice a particular instrument

Universal components[link]

Bellows[link]

	Accordion bellows controlled sounds A sample of effects that can be achieved with the bellows - 949 KB
Problems listening to this file? See media help.

The bellows is the most recognizable part of the instrument, and the primary means of articulation. Similar to a violin's bow, the production of sound in an accordion is in direct proportion to the motion of the player. It is located between the right- and left-hand manuals, and is made from pleated layers of cloth and cardboard, with added leather and metal.^[3] It is used to create pressure and vacuum, driving air across the internal reeds and producing sound by their vibration, applied pressure increasing the volume.

The keyboard touch is not expressive and does not affect dynamics: all expression is effected through the bellows: some bellows effects as illustrated below:

1. Bellows used for volume control/fade
2. Repeated change of direction ("bellows shake")
3. Constant bellows motion while applying pressure at intervals
4. Constant bellows motion to produce clear tones with no resonance
5. Using the bellows with the silent air button gives the sound of air moving, which is sometimes used in contemporary compositions particularly for this instrument

Body[link]

The accordion's body consists of two wood boxes joined together by the bellows. These boxes house reed chambers for the right- and left-hand manuals, respectively. Each side has grilles in order to facilitate the transmission of air in and out of the instrument, and to allow the sound to better project. The grille for the right-hand manual is usually larger and is often shaped for decorative purposes. The right-hand manual is normally used for playing the melody and the left-hand manual for playing the accompaniment, however skilled players can reverse these roles.^{[notes 2]}

The size and weight of an accordion varies depending on its type, layout and playing range, which can be as small as to have only one or two rows of basses and a single octave on the right-hand manual, to the standard 120-bass accordion and through to large and heavy 160-bass free-bass converter models.

Pallet mechanism[link]

The accordion is an aerophone. The manual mechanism of the instrument either enables the air flow, or disables it:^{[notes 3]}

An illustration of the pallet mechanism in Piano Accordions. As the key is pressed down the pallet is lifted, allowing for air to enter the tone chamber in either direction and excite the reeds; air flow direction depends on the direction of bellows movement. Note that this is a side view of a piano accordion keyboard, so a similar effective mechanical pallet movement is used for buttons, both on button accordions and bass mechanisms, including the Stradella machine

Variable components[link]

There is a wide range of instruments that are called accordion. The different types have varying components. All instruments have reed ranks of some format. Not all have switches. The most typical accordion is the piano accordion, which is used for many musical genres. Another type of accordion is the button accordion, which is used in Conjunto and Tejano music.

Right-hand manual systems[link]

A Weltmeister piano accordion

Different systems exist for the right-hand manual of an accordion, which is normally used for playing the melody. Some use a button layout arranged in one way or another, while others use a piano-style keyboard. Each system has different claimed benefits^[4] by those who prefer it. They are also used to define one accordion or another as a different "type":

• Chromatic button accordions and the bayan, a Russian variant, use a buttonboard where notes are arranged chromatically. Two of these systems exist
• Diatonic button accordions use a buttonboard limited to the notes of diatonic scales in a small number of keys. The keys are often arranged in one row for each key scale available
• Piano accordions use a musical keyboard similar to a piano, at right angles to the cabinet, the tops of the keys inward toward the bellows
• 6-plus-6-accordions use a buttonboard with three rows of buttons. The chromatic scale consists of two rows. The third row is a repetition of the first row. So there is the same fingering in all twelve scales. These accordions are produced only in special editions.

Left-hand manual systems[link]

Typical 120-button Stradella bass system. This is the left-hand manual system found on most unisonoric accordions today

Different systems are also in use for the left-hand manual, which is normally used for playing the accompaniment. These almost always use distinct bass buttons and often have buttons with concavities or studs to help the player navigate the layout despite not being able to see the buttons while playing. There are three general categories:

• The Stradella bass system, also called standard bass, is arranged in a circle of fifths and uses single buttons for chords
• The Belgian bass system is a variation used in Belgian chromatic accordions. It is also arranged in a circle of fifths but in reverse order. This system has 3 rows of basses, 3 rows of chord buttons allowing easier fingering for playing melodies, combined chords, better use of fingers 1 and 5, and more space between the buttons. This system was poorly traded outside of native Belgium
• Various Free-bass systems for greater access to playing melodies on the left-hand manual and to forming one's own chords. These are often chosen for playing classical music

Reed ranks and switches[link]

Accordion reed ranks with closeup of reeds

Inside the accordion are the reeds that generate the instrument tones. These are organized in different sounding ranks, which can be further combined into registers producing differing timbres. All but the smaller accordions are equipped with switches that control which combination of reed ranks will be brought into operation, organized from high to low registers. Each register stop produces a separate sound timbre. See the accordion reed ranks & switches article for further explanation and audio samples.

All but the smallest accordions usually have treble switches. The larger and more expensive accordions often also have bass switches.

Classification of chromatic and piano type accordions[link]

In describing/pricing an accordion, the first factor is size, expressed in number of keys on either side. For a piano type, this could for one example be 37/96, meaning 37 keys (3 octaves plus one note) on the treble side and 96 bass keys. After size, the price and weight of an accordion is largely dependent on the number of reed ranks on either side, either on a cassotto or not, and to a lesser degree on the number of combinations available through register switches. Typically, these could be announced as Reeds: 5 + 3, meaning 5 reeds on the treble side and 3 on the bass, and Registers: 13 + M, 7, meaning 13 register buttons on the treble side plus a special "master" which activates ALL ranks like the "tutti" on an organ, and 7 register switches on the bass side.

Straps[link]

The larger piano and chromatic button accordions are usually heavier than other smaller squeezeboxes, and are equipped with two shoulder straps to make it easier to balance the weight and increase bellows control while sitting, and avoid dropping the instrument while standing.

Other accordions, such as the diatonic button accordion, have only a single shoulder strap and a right hand thumb strap. All accordions have a (mostly adjustable) leather strap on the left-hand manual to keep the player's hand in position while drawing the bellows. There are also straps above and below the bellows to keep it securely closed when the instrument is not playing.

Unusual accordions[link]

Garmon player

Various hybrid accordions have been created between instruments of different buttonboards and actions. Many remain curiosities — only a few have remained in use:

• The Schrammel accordion, used in Viennese chamber music and klezmer, which has the treble buttonboard of a chromatic button accordion and a bisonoric bass buttonboard, similar to an expanded diatonic button accordion
• The schwyzerörgeli or Swiss organ, which usually has a 3-row diatonic treble and 18 unisonoric bass buttons in a bass/chord arrangement – actually a subset of the Stradella system – that travel parallel to the bellows motion
• The trikitixa of the Basque people has a 2-row diatonic, bisonoric treble and a 12-button diatonic unisonoric bass
• In Scotland, the favoured diatonic accordion is the instrument known as the British Chromatic Accordion. While the right hand is bisonoric, the left hand follows the Stradella system. The elite form of this instrument is generally considered to be the German manufactured Shand Morino, produced by Hohner with the input of Sir Jimmy Shand^[5]

History[link]

This section requires expansion.

The accordion is a free reed instrument and is in the same family as other instruments such as the sheng and khaen. The sheng and khaen are both much older than the accordion and this type of reed did inspire the kind of free reeds in use in the accordion as we know it today.

8-key bisonoric diatonic accordion (c. 1830s)

The accordion's basic form is believed to have been invented in Berlin in 1822 by Christian Friedrich Ludwig Buschmann,^{[notes 4][citation needed]} although one instrument has been recently discovered that appears to have been built earlier.^{[notes 5][6][7]}

Zitat Dillner Akkordeon

The accordion is one of several European inventions of the early 19th century that used free reeds driven by a bellows. An instrument called accordion was first patented in 1829 by Cyrill Demian, of Armenian descent, in Vienna^{[notes 6]}

Demian's instrument bore little resemblance to modern instruments. It only had a left hand buttonboard, with the right hand simply operating the bellows. One key feature for which Demian sought the patent was the sounding of an entire chord by depressing one key. His instrument also could sound two different chords with the same key; one for each bellows direction (a bisonoric action).

The piano accordion was first played in German-speaking regions, and then spread over Europe. Some early portable instrument with piano keys had been invented in 1821, but it started to actually be played much later, and built its reputation from there.

At that time in Vienna, mouth harmonicas with Kanzellen (chambers) had already been available for many years, along with bigger instruments driven by hand bellows. The diatonic key arrangement was also already in use on mouth-blown instruments. Demian's patent thus covered an accompanying instrument: an accordion played with the left hand, opposite to the way that contemporary chromatic hand harmonicas were played, small and light enough for travelers to take with them and used to accompany singing. The patent also described instruments with both bass and treble sections, although Demian preferred the bass-only instrument owing to its cost and weight advantages.^{[notes 7]}

By 1831 at least the accordion had appeared in Britain.^[8] The instrument was noted in The Times of that year as one new to British audiences^[9] and not favourably reviewed, but nevertheless it soon became popular.^[10] It had also become popular with New Yorkers by the mid-1840s at the latest.^[11]

After Demian's invention, other accordions appeared, some featuring only the righthanded keyboard for playing melodies. It took English inventor Charles Wheatstone to squeeze both chords and keyboard together in one squeezebox. His 1844 patent for what he called a “concertina” also featured the ability to easily tune the reeds from the outside with a simple tool.

The first pages in Adolph Müller's accordion book

The musician Adolph Müller described a great variety of instruments in his 1833 book, Schule für Accordion. At the time, Vienna and London had a close musical relationship, with musicians often performing in both cities in the same year, so it is possible that Wheatstone was aware of this type of instrument and may have used them to put his key-arrangement ideas into practice.

Jeune's flutina resembles Wheatstone's concertina in internal construction and tone color, but it appears to complement Demian's accordion functionally. The flutina is a one-sided bisonoric melody-only instrument whose keys are operated with the right hand while the bellows is operated with the left. When the two instruments are combined, the result is quite similar to diatonic button accordions still manufactured today.

Further innovations followed and continue to the present. Various buttonboard and keyboard systems have been developed, as well as voicings (the combination of multiple tones at different octaves), with mechanisms to switch between different voices during performance, and different methods of internal construction to improve tone, stability and durability.

Use in various music genres[link]

The accordion has traditionally been used to perform folk or ethnic music, popular music, and transcriptions from the operatic and light-classical music repertoire.^[12] Today the instrument is sometimes heard in contemporary pop styles, such as rock, pop-rock, etc.,^[13] and occasionally even in serious classical music concerts, as well as advertisements.

Use in traditional music[link]

Invented in 1829, its popularity spread rapidly: it has mostly been associated with the common people, and was spread by Europeans who emigrated around the world. The accordion in both button and piano forms became a favorite of folk musicians^[14] and has been integrated into traditional music styles all over the world: see the list of traditional music styles that incorporate the accordion.

This is a button key accordion made by the company Marrazza in Italy. It was brought by Italian immigrants to Australia as a reminder of their homeland.

Use in popular music[link]

	New York Blues A 1916 recording of "New York Blues" composed and performed by Pietro Frosini, one of the first major stars of the accordion.
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The accordion appeared in popular music from the 1900s-1960s. This half century is often called the "Golden Age of the Accordion." Three players: Pietro Frosini, and the two brothers Count Guido Deiro and Pietro Deiro were major influences at this time.

Most Vaudeville theaters closed during the Great Depression, but accordionists during 1930s-1950s taught and performed for radio. During the 1950s through the 1980s the accordion received great exposure on television with performances by Myron Floren on the Lawrence Welk Show.^[15] In the late 1950s and early 1960s, the accordion declined in popularity.

A folk accordionist 2009

In popular music, it is now generally considered exotic or old-fashioned to include the accordion, especially in music for advertisements. Some popular acts do use the instrument in their distinctive sounds.

Use in classical music[link]

Although best known as a folk instrument, it has grown in popularity among classical composers. The earliest surviving concert piece is Thême varié très brillant pour accordéon methode Reisner, written in 1836 by Miss Louise Reisner of Paris. Other composers, including the Russian Pyotr Ilyich Tchaikovsky, the Italian Umberto Giordano, and the American Charles Ives (1915), wrote works for the diatonic button accordion.

The first composer to write specifically for the chromatic accordion was Paul Hindemith.^[16] In 1922, the Austrian Alban Berg included an accordion in Wozzeck, Op. 7. Other notable composers have written for the accordion during the first half of the 20th century^[17] American composer William P. Perry featured the accordion in his orchestral suite Six Title Themes in Search of a Movie (2008). The experimental composer Howard Skempton began his musical career as an accordionist, and has written numerous solo works for it. Russian Bayan virtuoso Stas Venglevski has premiered contemporary works by Yehuda Yannay, Charles-Alexandre Julliard, Anthony Galla-Rini and William Susman.^[18]

Bosnia and Herzegovina[link]

The accordion is a traditional instrument in Bosnia and Herzegovina. It is the dominant instrument used in sevdalinka, a traditional genre of folk music from Bosnia-Herzegovina. It is also considered a national instrument of the country.

Brazil[link]

The accordion is widely used in Brazil (in particular in the South, South-East, Centre-West and North-East), in traditional as well as pop music. Compared to many other countries, the instrument enjoys in Brazil high popularity in mainstream pop music. In some parts of the country, such as the North-East it is the most popular melodic instrument. As opposed to most European folk, a very dry tuning is usually used in Brazil.

The accordion (predominantly the piano accordion) is used in almost all styles of Forró (in particular in the sub-genres of Xote and Baião) as principal instrument, Luiz Gonzaga (the King of the Baião) and Dominguinhos being among the notable musicians in this style. In this musical style the typical combination is a trio of accordion, triangle and zabumba (a type of drum). This style has gained popularity recently, in particular among the student population of the South-East of the country (in the Forró Universitário genre, with important exponents today being Falamansa, and trios such as Trio Dona Zefa, Trio Virgulino and Trio Alvorada). Moreover the accordion is the principal instrument in Junina music (music of the São João Festival), with Mario Zan having been a very important exponent of this music.

It is an important instrument in the Sertanejo (and Caipira) music which originated in the Centre-west and South-east of Brazil and subsequently has gained popularity throughout the country.

In the South of the country (where there is a preponderance of the button accordion), in particular in Rio Grande do Sul, it used in the Brazilian Gaúcho musical style, an important exponent of this music being Renatto Borghetti.

Colombia[link]

The accordion is also a traditional instrument in Colombia. Used in the style known as vallenato and cumbia in the Atlantic Coast of Colombia. Recently the Accordion has been used by Tropipop musicians such as Bacilos, Carlos Vives, and Andres Cabas, as well as Rock musicians like Juanes and Shakira. Vallenato has come to symbolize the folk music of Colombia. The legend of the Accordion's arrival in Colombia comes from a story of a ship wreck that was coming from Germany to Argentina. The wreck happened over the Magdalena river in the Atlantic coasts.

Use in heavy metal music[link]

Accordionists in heavy metal make their most extensive appearances in the folk metal sub-genre, and are otherwise generally rare. Full-time accordionists in folk metal seem even rarer, but they are still utilized for studio work, as flexible keyboardists are usually more accessible for live performances.

Notably, the Finnish symphonic folk-metal band Turisas has always had a full-time accordionist, employing classical and polka-style sensibilities alongside a violinist. Another Finnish metal band, Korpiklaani, invokes a type of Finnish polka called humppa, and also has a full-time accordionist. Sarah Kiener, the former hurdy-gurdy player for the Swiss melodic-death/folk metal band Eluveitie, played a Helvetic accordion known as a zugerörgeli, which could be a distant relative (in one way or another) to the Swiss schwyzerörgeli, as both are indigenous to and very rare outside of Switzerland.

Manufacturing process[link]

This section has multiple issues. Please help improve it or discuss these issues on the talk page. It needs additional citations for verification. Tagged since May 2012. It is incomplete and may require expansion or cleanup. Tagged since May 2012.

The best accordions are always fully hand-made, especially in the aspect of reeds; completely hand-made reeds have a far better tonal quality than even the best automatically manufactured reeds. Some accordions have been modified by individuals striving to bring a more pure sound out of low-end instruments, such as the ones improved by Yutaka Usui,^[19] a Japanese-born craftsman.

The manufacture of an accordion is only a partly automated process. In a sense, all accordions are handmade, since there is always some hand assembly of the small parts required. The general process involves making the individual parts, assembling the subsections, assembling the entire instrument, and final decorating and packaging.^[20]

Famous centres of production are the Italian cities of Stradella and Castelfidardo, with many small and medium size manufacturers especially at the latter. Castelfidardo honours the memory of Paolo Soprani who was one of the first large-scale producers. The French town of Tulle has hosted Maugein Freres since 1919, and the company is now the last complete process manufacturer of accordions in France. Large scale production existed in Germany by Hohner and Weltmeister, but these lost volume by the end of the 20th century. Hohner now manufactures in China; the Weltmeister instruments are still handmade by HARMONA in Klingenthal.

Other audio samples[link]

Accordion chords Chords being played on an accordion – 145 KB Problems listening to this file? See media help.

Accordion tones Audio clip of the same octave cycled through five different timbres (Piano Accordion) – 676 KB Problems listening to this file? See media help.

Notes[link]

1. ^ For the accordion's place among the families of musical instruments, see Henry Doktorski's Taxonomy of Musical Instruments (The Classical Free-Reed, Inc.) Also on this page is Diarmuid Pigott's The Free-Reed Family of Aerophones
2. ^ Guido Deiro claimed to be the first accordionist to play a solo with the left hand: Sharpshooter's March (1908) Guido Deiro, Guido Deiro's Own Story of Sharpshooters March, The Pietro Musicordion, Volume 6, Number 2 (May–June 1948)
3. ^ Illustration made with reference from a similar illustration that can be found in both Det levende bælgspil (p. 9) by Jeanette & Lars Dyremose (2003), and Harmonikaens historie (p. 35a) by Bjarne Glenstrup (1972, The University of Copenhagen, Faculty of Music)
4. ^ There is not a single document to back up this belief, Christian Friedrich Ludwig Buschmann was 16 years old at that time and we do have some handwriting of C.F. Buschschmann and his Father, but without any related notice within. First time of mentioned a aeoline was in a writing dated 1829.
5. ^ This is the accordion owned by Fredrik Dillner of Sweden which has the name F. Löhner Nürnberg engraved (stamped) on it. The instrument was given to Johannes Dillner in 1830 or earlier
6. ^ A summary and pictures of this patent can be found at www.ksanti.net/free-reed/history/demian.html (Version of 20 Okt 04 - 19 Jun 09 Using Way Back Machine to Display: The Classical Free-Reed, Inc.)
7. ^ German Text: "Mit den Dekel des Balges, läßt sich das ganze Instrument verdoppeln, so daß man dadurch die Accorde vermehrt, oder auch mit einzelne Töne spielen kann, in diesem Fall, muß ein zweyter Einsatz mit Federn, und auch eine 2te Claviatur dazu kommen, der Blasebalg bleibt in der Mitte, jede Hand dirigirt abwechselnd, entweder die Claves, oder den Balg. Durch eine obengenannte Verdoplung des Instruments oder durch Vermehrung der Accorde, würde niemand etwas verbessern, oder was neues liefern, weil nur die Bestandtheile dadurch vermehrt, das Instrument theurer und schwerer wird." Translation of this snip: With the Cover of the bellows the instrument can be duplicated, so the amount of Chords or single notes can be enlarged, or one can sound single notes, in this case a second part with springs (free reeds) and also a second keyboard has to be added, the bellows will be in between this two parts, every hand will be used to push buttons and push and pull the bellow at the same time or alternatively. Trough such a doubling or increasing of chords within the instrument nothing new will be invented or improved by someone else, because only the amount of similar parts will be increased and the Instrument will be heavier and more expensive.German full text

References[link]

External links[link]

Wikimedia Commons has media related to: accordions

Wikibooks has a book on the topic of Accordion

 Chisholm, Hugh, ed. (1911). "Accordion". Encyclopædia Britannica (11th ed.). Cambridge University Press. 

• Free accordion scores, music, videos, forum GoldAccordion.com
• Accordions Worldwide
• List of accordionists
• Accordion museum in Castelfidardo Museo della Fisarmonica Comune di Castelfidardo
• Accordion Fanatic provides useful information about accordions from accordion playing to repairing and even gifts.
• Accordion Trainer Is a tutoring application which can be used to educate the Stradella bass system.

MF DOOM
MF Doom at the Hultsfred Festival 2011 in Sweden
Background information
Also known as	DOOM, King Geedorah, Metal Face, Metal Fingers, Viktor Vaughn, Zev Love X, Madvillain
Born	(1971-01-09) January 9, 1971 (age 41) London, United Kingdom
Origin	Long Island, New York
Genres	East Coast hip hop
Occupations	Rapper, hip hop producer
Instruments	Vocals, sampler, synthesizer, drum machine, Pro Tools
Years active	1988–1993 1997–present
Labels	Elektra (1988–1993) Sub Verse (1997–2003) Fondle 'Em (1997–2001) Metal Face (1997–present) Big Dada (2003) Naturesounds (2003–present) Rhymesayers (2004) Stones Throw (2004–present) Lex (2005–present)
Associated acts	KMD, Madvillain, Danger Doom, Madlib, MF Grimm, Ghostface Killah, J Dilla, Count Bass D, Aesop Rock, Jneiro Jarel, Gorillaz, Masta Ace, De La Soul
Website	Official website

Daniel Dumile (pronounced /ˈduːmɨleɪ/ DOO-mə-lay; born January 9, 1971) is a hip hop artist who has taken on several stage names in his career, most notably MF Doom, often stylized as MF DOOM, where the "MF" stands for metal face, but metal fingers when using his producing name. He has appeared in several collaborative projects such as Danger Doom (with Danger Mouse) and Madvillain (with Madlib).

History[link]

Early years with KMD[link]

Dumile was born on January 9, 1971, in London, England, the son of a Trinidadian mother and Zimbabwean father.^[1] He then moved with his family to New York and was raised in the city of Long Beach, New York on Long Island.

As Zev Love X, he formed the group KMD in 1988 with his younger brother DJ Subroc and another MC called Rodan. When Rodan left the group, Zev found another MC to replace Rodan named Onyx the Birthstone Kid.^[1] A&R rep Dante Ross learned of KMD through the hip hop group 3rd Bass, and signed the group to Elektra Records.^[2]

Dumile and KMD's recorded debut came on 3rd Bass's song "The Gas Face" from The Cactus Album,^[1] followed in 1991 with KMD's album Mr. Hood, which became a minor hit through its singles "Peachfuzz", "Who Me?" and heavy video play on cable TV's Yo! MTV Raps and Rap City.

Subroc was struck and killed by a car in 1993 while attempting to cross the Long Island Expressway before the release of a second KMD album, titled Black Bastards.^[1] The group was subsequently dropped from Elektra Records that same week. Before the release of the album, it was shelved due to controversy over its cover art,^[2] which featured a cartoon of a stereotypical pickaninny or sambo character being hung from the gallows.

With the loss of his brother, Dumile retreated from the hip hop scene from 1994 to 1997. He testifies to disillusionment and depression, living "damn near homeless, walking the streets of Manhattan, sleeping on benches.^[1][3]" In the late 1990s, he left New York City and settled in Atlanta. According to interviews with Dumile, he was also "recovering from his wounds" and swearing revenge "against the industry that so badly deformed him."^[1] Black Bastards had become bootlegged at the time, leading to Doom's rise in the underground hip hop scene.

Birth of MF DOOM[link]

In 1997, Dumile began freestyling incognito at open-mic events at the Nuyorican Poets Café in Manhattan, obscuring his face by putting a stocking over his head. He meanwhile had taken on a new identity, MF Doom, patterned after and wearing a mask similar to that of Marvel Comics super-villain Doctor Doom, who is depicted rapping on the cover of the 1999 album Operation: Doomsday. He wears this mask while performing and isn't photographed without it, except for very short glimpses in videos such as Viktor Vaughn's "Mr. Clean", "?", and in earlier photos with KMD.^[1] MF Doom's mask has undergone at least one design revision since its adoption (it is now an altered version of the mask worn by the character Maximus Decimus Meridius in the film Gladiator).

Early career[link]

Dumile released three singles on "Bobbito" García's Fondle 'Em Records, "Dead Bent", and "Greenbacks" (1997), and "The M.I.C." (1998). In 1999 Fondle 'Em released MF Doom's first full-length LP, Operation: Doomsday, which included these singles and their b-sides, and additional tracks. Dumile had used the spelling variant "M.F. DOOM" for the singles releases, but thereafter changed this to "MF DOOM".

Among the collaborators on these tracks were fellow members of the Monsta Island Czars collective (The M.I.C.), for which each artist took on the persona of a monster from the Godzilla mythos. Dumile went by the alias "King Geedorah," a three-headed golden dragon space monster, modeled after King Ghidorah, the Toho movie monster who was a three-headed dragon that often battled Godzilla. Some of his appearances on the LP are as, and are credited to this persona, instead of that of MF Doom. Dumile would revisit this character later under various name-spellings.

Guest appearances, production, and instrumental work[link]

In the years intervening before his next full-length solo release, and continually since, Dumile has appeared on several tracks on other artists' LPs and remixes, contributed one-off tracks to compilations, and done various guest production work.^[4]

In 2002, he appeared on the Sound-Ink's Colapsus collection,on a very hard to find track titled "Monday Nite at Fluid" featuring Kurious with production by King Honey, who also produced some tracks for Dumile's album Vaudeville Villain. DOOM also made an appearance in "November Has Come", a track on Gorillaz's 2005 album Demon Days, which reached #6 on the Billboard 200.^[5]

Besides the Viktor Vaughn album Dumile produces all the instrumentation tracks for his solo releases with very few exceptions.^[4]

Beginning in 2001, under the "Metal Fingers" moniker, Dumile began releasing his Special Herbs instrumentals series. Many of these beats can be heard as the instrumentation tracks throughout his body of work. A separate website catalogs for which tracks each instrumental has been used.^[6]

Ongoing career[link]

In 2003, Dumile released the King Geedorah album Take Me to Your Leader. Geedorah is credited as producer, but only appears as an MC on four tracks. The majority of vocal tracks feature guest MCs, and the album features several instrumental montages of sampled vocals from old movies and TV shows—a technique employed on most of Dumile's albums. Both Venomous Villain and Take Me to Your Leader feature appearances by MF Doom.

Also in 2003, Dumile released the LP Vaudeville Villain under the moniker Viktor Vaughn (another play on Doctor Doom, whose "real name" is Victor von Doom). In 2004 he released a follow-up LP, Venomous Villain (also called VV2).

And, in 2004, the second MF Doom album MM.. Food was released by the Minnesota-based label Rhymesayers Entertainment.

Mainstream recognition[link]

DOOM's first commercial breakthrough came in 2004, with the album Madvillainy, created with producer Madlib under the group name Madvillain. Released by Stones Throw Records, the album was a critical and commercial success. MF DOOM was seen by mainstream audiences for the first time as Madvillain received publicity and acclaim in publications such as Rolling Stone, The Washington Post, The New York Times, The New Yorker, and Spin. A video for "All Caps" and a four-date U.S. tour followed the release of Madvillainy. Additional videos for "Rhinestone Cowboy" and "Accordion", both directed by Andrew Gura, were released on the DVDs Stones Throw 101 and Stones Throw 102: In Living the True Gods, respectively.

MF Doom collaborated with Danger Mouse who together are known as DANGERDOOM.

Though still an independent artist, MF DOOM took a bigger step towards the mainstream in 2005 with The Mouse and the Mask, a collaboration with producer DJ Danger Mouse under the group name Danger Doom. The album, released on October 11, 2005 by Epitaph, was done in collaboration with Cartoon Network's Adult Swim and featured voice-actors and characters from its programs (mostly Aqua Teen Hunger Force). Danger Doom reached #41 on the Billboard 200.^[7] In 2006 DOOM hosted the Adult Swim Christmas special and he could be seen in between shows, usually talking about what was up next, and making jokes.

2006–2009[link]

MF Doom produced tracks for both of Ghostface Killah's 2006 albums Fishscale and More Fish, and the two are currently at work on a collaboration album titled Swift & Changeable. So far only track released from the album is "Angels", which appeared on a Nature Sounds compilation in late 2006, and later re-released in a different fashion on Doom's 2009 album Born Like This. Doom has also revealed plans for a second Madvillain album with producer Madlib, with one song, "Monkey Suite", first appearing on the Adult Swim/Stones Throw Records album Chrome Children, later it appeared on Madvillainy 2 - The Madlib Remix. Other potential projects mentioned by Doom include new albums from Danger Doom,^[8] KMD, as well as further albums under both his Viktor Vaughn and King Geedorah aliases. However, many such Doom projects have been rumored in recent years without materializing.

Despite no new Doom releases in 2006, Kidrobot and Stones Throw released an 8" tall Madvillain toy available to coincide with the release of the Chrome Children CD/DVD (hosted by Peanut Butter Wolf) which featured a DVD performance of Madvillain and several other Stones Throw artists. Doom also continued to work with Adult Swim doing voice-over work as Sherman the Giraffe on Perfect Hair Forever, being the voice for The Boondocks ads and previews and hosting their Christmas Eve 2006 programming.

In late January 2009, Lex records confirmed Doom's new album title to be Born Like This, and that the "MF" would be dropped from his name, now just "DOOM".^[9] The album was released worldwide on March 24, 2009.^[10] As a teaser, the track "Ballskin" was posted on Doom's Myspace page on January 13, 2009.^[11] Snippets of the entire album were made available for streaming on Doom's Myspace on the album's release date. The title for the album was inspired by the poem "Dinosauria, We" by poet and writer Charles Bukowski. Doom samples a performance of the poem by Bukowski on the track "Cellz". Previously, Doom used a Bukowski sample for a vocal interlude on 2004's "All Outta Ale.^[12] "Thom Yorke of Radiohead remixed the track "Gazillion Ear" which is available as an iTunes-only bonus track.^[13] June 26, 2009 Kurious released II which featured Doom on the song "Benetton".^[14]

2009-2012[link]

On May 26, 2010, the second single for the next Madvillain album "Paper Mill" was released through Adult Swim.^[15] Expektoration, a live Doom album, was released on September 14, 2010 through Gold Dust Media. In mid 2010, DOOM released the mix-tape "DOOM!", a collection of greatest hits, B-sides and rareties, including the theme for the video game Grand Theft Auto: Chinatown Wars featuring Ghostface Killah, and Biochemical Equation, featuring the RZA.

On July 27, 2011 DOOM and Ghostface Killah released the track "Victory Laps" from their long awaited collaboration project Swift & Changeable on the Nature Sounds label.

DOOM was chosen by Portishead to perform at the ATP I'll Be Your Mirror festival that they curated in July 2011 at London's Alexandra Palace.^[16]

DOOM will be the guest curator for Chapter 48 of Frank151's quarterly magazine. Chapter 48 will be released Summer 2012 and will feature a candid interview with DOOM on a variety of topics.^[17]

In September DOOM will be performing live as part of Bestival 2012 on the Isle Of Wight.^[18]

Live show controversy[link]

Dumile has become infamous for allegedly sending imposters to perform on his behalf.^[19] Doom initially countered such accusations by claiming that he lost weight and thus looked - and sounded - different,^[20] before his road manager described the move as an intentional choice made by Dumile.^[21] For his 2011 UK tour, a promoter for the Glasgow show - fearing reduced attendance from a cautious public - guaranteed on Twitter that Dumile would be appearing in person.

Discography[link]

Solo[link]

• 1999: Operation: Doomsday
• 2003: Take Me to Your Leader (as King Geedorah)
• 2003: Vaudeville Villain (as Viktor Vaughn)
• 2004: Venomous Villain (as Viktor Vaughn)
• 2004: Mm.. Food
• 2009: Born Like This (as DOOM)

Compilation Albums[link]

• 2009: Unexpected Guests

Collaboration Albums[link]

• 1991: Mr. Hood (as Zev Love X with KMD)
• 2001: Black Bastards (as Zev Love X with KMD)
• 2003: Escape from Monsta Island! (as King Geedorah with Monsta Island Czars)
• 2004: Madvillainy (with Madlib as Madvillain)
• 2005: The Mouse and the Mask (with Danger Mouse as DANGERDOOM)
• 2006: Occult Hymn (with Danger Mouse as DANGERDOOM)
• 2012: Son of Yvonne (with Masta Ace as MA DOOM)
• 2012: Key to the Kuffs (with Jneiro Jarel as JJ DOOM) ^[22]
• TBA: Swift & Changeable (with Ghostface Killah as DOOMSTARKS)

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Daniel Dumile

• MF Doom on Myspace
• Official website

Sandy Brechin
Sandy Brechin
Background information
Born	20 April 1969
Origin	Edinburgh, Lothian, Scotland
Genres	Scottish folk music
Instruments	Accordion
Years active	1985-Present.
Labels	Brechin All Records
Associated acts	SB Band, Burach, Seelyhoo, Shandoneers
Website	www.brechin-all-records.com

Sandy Brechin is a Scottish musician and accordionist. He has developed an instantly recognisable style and is well known as a player, teacher and composer of traditional Scottish music.^[1][2][3]

He is a member of three bands, the Sandy Brechin Band, Bùrach and The Sensational Jimi Shandrix Experience and has released material with all three bands as well as his own two solo albums, Out of his Box and Out of his Tree. He was also, previously, a member of Seelyhoo.

In February 1997, he played in the final to select Britain’s entry for the Eurovision Song contest 1997, as part of the band “Do Re Mi, with Kerry”. The song was called “Yodel in the Canyon of Love”. The song came second to Katrina And The Waves, who went on to win Eurovision.

Brechin is also the box player in the play "The Accidental Death of an Accordionist".

Brechin also runs his own record company, Brechin All Records, an independent which specialise in Scottish Folk music. He also published a book of his collected tunes Out of his Mind.

Discography[link]

Solo[link]

• Out of His Box 1996
• Out of His Tree 1999

With Bùrach[link]

• The Weird Set 1995
• Born Tired 1997
• Deeper 2000
• Unstoppable 2007

With Seelyhoo[link]

• The First Caul 1995
• Leetera 1998

With the Sensational Jimi Shandrix Experience[link]

Electric Landlady 2007

Bibliography[link]

Out of his Mind 2004 ISBN/ISMN: 1871931878

External links[link]

• Brechin All Records
• 1998 Interview with Brechin
• Footstompin' Records Profile

References[link]