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From: [EMAIL PROTECTED]
>yeah, i can't buy new records - the clean production makes every
single
>track sound like bland techhouse to me.
seriously. everything is so tame sounding and compressed into
dynamicless poop. all those kinds of tracks seem to sit at the
same energy level. this is why most deejays bore me, they play
these records that sit at the same level and they never deviate
from that when they play. those old jams arent so one dimensional.
honestly, when people are in the record shop getting excited over
some new NYC house cuts, i just shake my head. some friends and i
were playing a party and this one cat was on playing some recent
kerri chandler crap. i stepped in and dropped that nasty sax loop
cut from KDJ's soul sounds 12" and people suddenly started paying
attention.
>theo parrish and moodymann being
>about the only exceptions.
detroit house in general is an exception. i also really like the
dynamics in stinkworx stuff. moonstarr is another guy who can
really work what he's got. titonton as well.
>if it wasn't made on a reel to reel i'm not interested.
what about cassette tape? im a big fan of it ;)
>yep, i prefer bad production, wack levels, crappy sounds,
dropouts and
>surface noise.
im just glad im not the only one!
>that's exactly what made my bug out in the 80s to early
>house. just like the raw, amateur quality of punk attracted me in
the late
>70s, early 80s. i like raw minimal tracks. you don't need more than 4
>tracks to make the best music in the world.
this point really seems to be being missed by almost all dance
music producers these days. what happened to real minimalism? less
IS more!
>as i've said before damce music is like prog rock waiting for
punk to come
>along and kill it. viva la (next) revolution.
ive definitely considered detroit house and chicago traxx to be
the punk of dance music.
tom
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