Re: Mad Mike Tresor interview
Red Bull don’t actually make anything, the drink itself is licensed and manufactured by the original Thai licenser (Chaleo Yoovidhya). Red Bull only exist to make money, somewhere around 6 Billion last time I looked. All their labour goes into the brand, that’s why they buy out edgy sports and events, they are after the front covers rather than paying for advertising. This also helps keep up the claim of being an edgy “non-marketed brand” - it cost a lot of money to do that. There target is always young kids, the next generation, pretty easy when they have a 70% share of the market. My experience of them is they collect people, creditability and “things”, they employ creative agencies to do the buying and not cheap agencies either. I’m surprised that Denise has any support in her heart for people who do this on a weekly basis. https://imgur.com/a/VfHYGjU > On 13 Dec 2018, at 16:58, denisedalph...@gmail.com wrote: > > Moodymann just played Paisley Park and red bull had a hand in arranging that. > That’s good for Moodymann, who plays in Detroit a lot. So that’s good for > Detroit. > > Mike Banks should have been treated with way more fanfare and better > questions. But he gets to take that enormous, global stage. That’s good for > Mike Banks and good for Detroit. > > > > Denise Dalphond, Ph.D. > ethnomusicologist > schoolcraftwax.work
Re: Mad Mike Tresor interview
No, that is not their core business nor what they floated on, do some research. > On 13 Dec 2018, at 11:16, denisedalph...@gmail.com wrote: > > Like a promoter? > > > > Denise Dalphond, Ph.D. > ethnomusicologist > schoolcraftwax.work > > On Dec 13, 2018, at 06:08, Martin Dust wrote: > >> Red Bull are NOT a promoter, they are masters of hypernormalisation that >> purchase “cool", one look at their website will tell you that. It’s a least >> 3 clicks before you see an actual product. They turn people into products. >> >> >>> On 13 Dec 2018, at 10:46, denisedalph...@gmail.com wrote: >>> >>> Mike Banks fucks with red bull. Kenny Dixon fucks with red bull. They’re a >>> promoter. They have a permanent exhibit space in Detroit and this summer, >>> Submerge had a house music exhibit there. >>> >>> This is no plug for red bull. They’ve never published any of my writing, >>> but I’ve never submitted anything because in Mike Rubin’s piece about >>> Drexciya last year, they let him write that slavery is America’s original >>> sin, which is historically inaccurate; it’s Europe’s original sin. They >>> would never print my writing because I would say things a lot harder. Like >>> anti-cop shit and stuff. >>> >>> But red bull is everywhere. >>> >>> Denise Dalphond, Ph.D. >>> ethnomusicologist >>> schoolcraftwax.work >>> >>> On Dec 13, 2018, at 05:16, Martin Dust wrote: >>> >>>>> What started it all? Red Bull simply wanted to develop a way of fostering >>>>> the discourse of underground music and dance culture. >>>> >>>> First time I’ve heard called that. >>
Re: Mad Mike Tresor interview
Red Bull are NOT a promoter, they are masters of hypernormalisation that purchase “cool", one look at their website will tell you that. It’s a least 3 clicks before you see an actual product. They turn people into products. > On 13 Dec 2018, at 10:46, denisedalph...@gmail.com wrote: > > Mike Banks fucks with red bull. Kenny Dixon fucks with red bull. They’re a > promoter. They have a permanent exhibit space in Detroit and this summer, > Submerge had a house music exhibit there. > > This is no plug for red bull. They’ve never published any of my writing, but > I’ve never submitted anything because in Mike Rubin’s piece about Drexciya > last year, they let him write that slavery is America’s original sin, which > is historically inaccurate; it’s Europe’s original sin. They would never > print my writing because I would say things a lot harder. Like anti-cop shit > and stuff. > > But red bull is everywhere. > > Denise Dalphond, Ph.D. > ethnomusicologist > schoolcraftwax.work > > On Dec 13, 2018, at 05:16, Martin Dust wrote: > >>> What started it all? Red Bull simply wanted to develop a way of fostering >>> the discourse of underground music and dance culture. >> >> First time I’ve heard called that.
Re: Mad Mike Tresor interview
> What started it all? Red Bull simply wanted to develop a way of fostering the > discourse of underground music and dance culture. First time I’ve heard called that.
Re: new subscribers
Get your purse out https://www.kickstarter.com/projects/detroittechnomovie/god-said-give-em-drum-machines-the-story-of-detroi?ref=project_facebook
Re: new subscribers
> Hey, my name is Keith and I'm a Scorpio from Athens, GA and I like to find > the essence from within Who looks at a baby and decides to call it Keith? m
Re: Why Drexciya Took Detroit Electro Underwater
> On 24 Oct 2018, at 17:36, ja...@iridite.com wrote: > > Where's Tom Cox when you need him? He's always got a calm and measured > response in situations like this. > Proper LOL
Re: Why Drexciya Took Detroit Electro Underwater
> On 19 Oct 2018, at 12:24, denisedalph...@gmail.com wrote: > > I do not. Maybe you should read my article about Drexciya and UR and > Moodymann in Black Lives Matter and Music: Protest, Intervention, Reflection. > It just came out. > > Denise Dalphond > Then there’s nothing to discuss if you can see it.
Re: Why Drexciya Took Detroit Electro Underwater
Yes it’s real, do you not see the logical fallacy in your argument? > On 19 Oct 2018, at 11:56, denisedalph...@gmail.com wrote: > > Is this a real question? Dan Sicko was a actual Detroiter. > >> On Oct 19, 2018, at 05:43, Martin Dust wrote: >> >> Hi Denise, >> >> Do you feel the same about Dan Sicko’s book? >> >> m
Re: Why Drexciya Took Detroit Electro Underwater
Hi Denise, Do you feel the same about Dan Sicko’s book? m
Afternoon 313
It’s been a long time 313, Here’s some free weird stuff we’ve been making https://soundcloud.com/the-black-dog/sets/the-conspiracy-tapes-2018 Ambient vibes with a twist of strange. m-tBd
(313) Shake
Interview with Shake here: http://www.junodownload.com/plus/2014/04/29/thats-american-an-interview-with-anthony-shake-shakir/
Re: (313) Terrence Parker
Hey Rob, Are CS reading your mail? Bit unusual for some from Spain to say Cheeky… http://www.clubbingspain.com/noticias/2014/contra-terrence-parker.html
Re: (313) Terrence Parker
On 30 Apr 2014, at 11:45, Ken wrote: > I dunno anymore! add this as well http://terrenceparkernotdjing.tumblr.com/
Re: (313) The drum machine that refused to die
It's not the same but good for the price, not mad keen on how it looks or feels but there's enough there for the money. m
Re: (313) Mayday
On 2 Apr 2014, at 09:34, Rob Taylor wrote: > To be really pedantic, only a listener or a reader can infer. Mr May implies. > > Sorry! > Actually made me laugh, good work Rob. m
(313) Technics 1200 MK2
Wotcha 313, We got a couple of absolutely mint and box fresh units up for sale if anyone's interested. Hit me up. M
Re: (313) Borderland
Wasn't feeling it at all but I'm not into that vibe very much these days. Really enjoyed the new James Holden album tho. m On 10 Jul 2013, at 14:09, Patrick Wacher wrote: > Very much enjoying it. It's something I can put on and get a little lost in > the tracks.
Re: (313) Depeche Mode - Personal Jesus remix
On 20 Jun 2013, at 07:52, Minto George wrote: > > I think what some of David is saying has some validity and anecdotal evidence > from first-hand accounts and even historical documentation. Same goes for Santa existing as well. > > I remember having a conversation with Mike at Submerge about this. 'Sometimes > the music plays you.' Not really tho, it's just reenforcement via repetition, ever driven to work and not remembered the journey? VoDOooo m
Re: (313) Depeche Mode - Personal Jesus remix
> > A DJ has an incredible amount of power over their audience. In my > opinion, those who don't take such power seriously, have no business > DJing. They may actually be negatively impacting the well being of > their audience. I do believe that bad music can literally make people > sick in a psycho-spiritual sense! and the scientific proof for the above? m PS I once dealt a hand of tarots cards and 3 people almost died :)
Re: (313) KRU Noise Radio 2013-04-20
I just like it all :) Kinda moved away from "soulful" stuff for a long time m
Re: (313) KRU Noise Radio 2013-04-20
Thanks very much m On 22 Apr 2013, at 14:17, Kerr Knoll wrote: > We are spoiled for quality mixes today :) > > Been listening to the Darkwave 11 and thoroughly enjoying it. Looking forward > to listening to Kent and Andrew's mixes next. >> >> http://www.theblackdogma.com/tbd/2013/04/the-black-dog-darkwave-11/
Re: (313) KRU Noise Radio 2013-04-20
Here you go :) > > re: The Black Dog; just saw a new > DarkWave mix posted; Martin; can you share the link here please? http://www.theblackdogma.com/tbd/2013/04/the-black-dog-darkwave-11/
Re: (313) history always favours the winners
On 5 Mar 2013, at 00:43, Fred Heutte wrote: > But they were playing at a time when many in the same circuit > (the Washington DC underground of 1977 onward) really couldn't > -- including some, like Half Japanese, who made a fetish of that. > Some got better, some didn't. Loved Bad Brains, played their album to death back in the day, amazing live as well. > > Many of us who DJ or make tracks have drawn on the DIY punk > attitude -- itself an outgrowth of, among other things, the garage band > ethos in the 1960s in the US, of course commemorated by "Garageland" > by the Clash, a band who could really really play. They wrote Garageland because they got called a garage band in the NME for their gig supporting the Pistols at The Screen On The Green > > It's easy to overlook now the profound influence of the Ramones > on the Pistols and everyone else. And what were they doing? > Basically 1960s garage. Yeah, that first album was the blue print. m
Re: (313) history always favours the winners
Simple photo on the cover and all his own tracks.
M
On 5 Mar 2013, at 00:01, darnistle wrote:
>
>
> On 3/4/2013 2:58 PM, Martin wrote:
>>
>> Yeah, there's a lot to learn from history, I didn't know it was Bob Dylan
>> that changed the album format to what we know it as so yeah if I'm just
>> learning that...
>>
>> m
>
>
> ???
>
> In what way did he change the album format?
>
> --
> {}0+>|
Re: (313) history always favours the winners
On 4 Mar 2013, at 16:16, Daniel Bean wrote: > That was my earlier point way back on this thread. To recap: "EDM? Who cares?" > Not everyone shares that sentiment though. Aye, you can see why people bite and it can be good fun but I'd be more worried about the lack of good tunes coming out of Detroit than anything Sonny or Boy To Noize said. m
Re: (313) history always favours the winners
On 4 Mar 2013, at 16:03, Daniel Bean wrote: > Is it OK to villify him for making really awful music? Why are people on 313 worried about him at all?
Re: (313) history always favours the winners
On 4 Mar 2013, at 14:25, David Powers wrote: > First of all, it's the opposite, punk was (supposedly) influenced by > situationism, > > 'Marcus quotes the musician Paul Westerberg as saying that he became > enthralled with the Sex Pistols because “It was obvious that they > didn’t know what they were doing and they didn’t care.” Talcy Malc did rip off a hell of a lot of dada and situationism but he didn't try to hide it. He tried some of it on the New York Doll but it didn't work or stick. It's interesting that the myth of them not being able to play still continues, Jones, Cook, and Matlock could all play very well. I think the key part about punk for me was that it was about getting up and having a go. Here's the names and addresses of the studio's, pressing plants and venues --- GO m
Re: (313) The Black Dog – Arranging & Processing Bleep. 01
On 27 Feb 2013, at 11:52, Andrew Duke Cognition Audioworks new email address wrote: > Thanks for the opportunity, Martin. > Downloading as I type this. > Andrew No worries Andrew, was a pleasure to do and something we've been doing for a long time for DJing and studio pleasure really. m
(313) The Black Dog – Arranging & Processing Bleep. 01
Hey 313, We’ve always been in two minds about doing this because as much as we like the past we love the future more. However these are a few of our private edits of early Bleep & Bass tracks we made for our own pleasure. We’ve been dropping them in sets because they still make us dance and this is how Return Ov Bleep came about. 1. Autechre – Eutow – Warp 2. Forgemasters – Track With No Name 3. The Black Dog – Bleep One 4. LFO – Push – Warp – Dust Science 5. Phoenecia – Y-Intercpnkt – Warp 6. Tricky Disco – Tricky Disco 7. Move D – Rain Shine – Warp 8. Sympletic – Ace Space _ Warp 9. The Black Dog – Bleep Four – Dust Science 10. Sweet Exorcist – Testonetwothree – Warp 11. LFO – Tied Up – Warp http://www.theblackdogma.com/tbd/2013/02/the-black-dog-arranging-processing-bleep-01/ m
Re: ( 313) Google Street View and Drexciya [not serious]
That's brilliant :) On 31 Jan 2013, at 17:06, "Odeluga, Ken" wrote: > 313-related silliness.
Re: (313) Analysis: Stuck in reverse, Detroit edges closer to bankruptcy OT
On 29 Jan 2013, at 16:39, David Smith wrote: > "I don't want to get into the politics." But in my opinion, strife creates > better art. And if you think about that statement you know it's utter BS.
Re: (313) Kraftwerk: Concerts next year
> Tate clearly doesn't have state-of-the-art admin which can match the > technocratic 'Gestalt' [pardon me for being poncy] of Kraftwerk. > Even so, there's little doubt that Kraftwerk would only appear at a venue > [nowadays] if the sound facilities were top notch. Not so sure about that Ken, the event at Manchester Velodrome was pretty poor.
Re: (313) Kraftwerk: Concerts next year
> > Then why see Kraftwerk in concert? To witness/enjoy the execution of said instructions!
Re: (313) Kraftwerk: Concerts next year
Redial for 2 hours and then gave up, hope the same people aren't organise the sound :) m > I can't go so didn't even bother but it seems like chaos, I hope this is not > a sign of things to come and that the shows go off ok.
(313) Funk Dvoid live
http://www.electronicsupperclub.tv/live
Re: (313) NYE
Off to see Regis m On 6 Dec 2012, at 13:17, Paul Kendrick wrote: > What are people up to on NYE, anyone going clubbing?
Re: (313) new transmat
On 28 Nov 2012, at 10:15, Philip McGarva wrote: > and yes getting paid is tough. i never saw a cent from danny tenaglia or > roger sanchez including 'signals' on their mix cds, or sven vath using 'disco > version' (styrax) on his. i'm a more assertive these days, but some things > are impossible to resolve or negotiate via email. dj scruples? don't make me > laugh. Aye, seen it from both sides really - it's difficult to make comps pay and work these day, so much so I'm surprised smaller labels still do them. m
Re: (313) New Transmat Comp.
However if they have a contract with DM he's perfectly entitled to do what he's doing and he may have already paid them for the release in advance. m On 28 Nov 2012, at 09:59, Aidan O'Doherty wrote: > i mailed their news editor - not that i expect anything to come of it > > On Wed, Nov 28, 2012 at 9:34 AM, Aidan O'Doherty > wrote: >> so, for the likes of philip and stephen brown, the fact that they were >> not contacted about his comp, despite may's quote that all artists got >> paid in advance, means they will not get the royalties they deserve? i >> think resident advisor should be made aware of this. what i find >> surprising about their piece is the obvious fact that none of it was >> checked out - a quick google search would turn up loads of info on >> djinxx - sure they have him in their profiles, including his twitter >> feed. it's not like they are up against print deadlines.
(313) Greetings From SoYo
Hey 313, Long time, been busy in the studio and doing this: http://www.electronicsupperclub.tv/ See what you think. m
Re: (313) Rob Hood & Mike Banks interview.
Looking forward to reading this one m
Re: (313) From the mouth of babes...
The day you worry about anything Mr. Guetta says is probably the same day you should double your dosage! m On 12 Jul 2012, at 13:30, Rob Taylor wrote: > Why? He's right in a way. UR ARE a bit po-faced. Detroit techno is in > general, quite SERIOUS.
Re: (313) Carls Davis AKA Carl Craig
Wasn't that keen to be honest but been on a darker tip for while now. m
Re: (313) Kraftwerk - New York
On 16 Apr 2012, at 17:12, kent williams wrote: > I think there's a general trend going on there. People do get sick of > lugging bags of records all over the world, and all those guys are > getting into their 40s and have to start worrying about their lumbar > region. The state of some of the decks we've seen in clubs it's a wonder anyone can play on them to be honest, plus budget airlines and 100 12"s don't really mix these days. m
Re: (313) Kraftwerk - New York
On 16 Apr 2012, at 15:27, kent williams wrote: > There are a ton of horror stories about touring with analog synths in > the old days -- We have plenty with them ( horror stories) just in the studio, fucking things :) m
Re: (313) Hawtin interviews Skrillex.
On 2 Apr 2012, at 01:14, Fred Heutte wrote: > "edm crossover to mainstream" When did people start using the term EDM in this context? Seems a little strange. m
Re: (313) acoustic jazz strings of life?
I feel unclean On 20 Dec 2011, at 13:57, kent williams wrote: > Christian Prommer does dance classics as acoustic jazz > Cant decide if it's great or awful: > http://www.sonarkollektiv.com/tracks/DE-P96-06-00245/
Re: (313) inner city
On 28 Nov 2011, at 20:19, Marsel van der Wielen wrote: > > me like > > http://soundcloud.com/defectedrecords/kevin-saunderson-presents Wasn't keen at all m
Re: (313) T Baby is an Internet phenomenon?
WTFlat On 18 Nov 2011, at 21:21, kent williams wrote: > The beat is pretty decent. They sing the hook in the key of WTF, and > verses end in the middle of the loop. It made it onto the resurrected > Beavis & Butthead... > > "It's So Cold In The D" > http://youtu.be/aktLRiWXfqg
Re: (313) Silly fanboy collectors question...
On 11 Nov 2011, at 15:40, David Powers wrote: > You should have him come over and use it to collab on a track... hahaha! Don't think he makes music anymore from what he was saying. m
Re: (313) Silly fanboy collectors question...
We have Phil Colins old JD 800 :) m
Re: (313) Rob Hood Mix on CLR
On 14 Sep 2011, at 01:31, darnistle wrote: > Very annoying! Not as annoying as Chris talking all over the mix, really winds me up for some reason. There's even one where he talks about not talking on the mix. m
Re: (313) Moodymann track id?
> http://vimeo.com/26299084 How embarrassing is that! m
Re: (313) The Vault - April 20, 2011 with Anton Banks
On 17 May 2011, at 17:59, AntonBanks.com wrote: > ### > Mix by Anton Banks > > Lec - Trimming [Amaze Me] > Lucy & Xhin - Lx2 [Clr Germany] > Blawan - Lavender [R&S] > Appleblim, Ramadanman - Void 23 - Carl Craig Re-Edit [Aus Music] Some good picks there Anton. m
Re: (313) Pirates (Toddla T "Take Me Back")
On 17 May 2011, at 14:31, Mann, Ravinder wrote: > Not sure about the car park parties, loads of ravers from the city centre > used to go to Sonny's blues in Chapeltown for afterhours around 91. Born out of loads of youngsters not being able to go home so wrecked at that time in the morning, it kinda started at motorway cafes on the M1, we had some blinders at Woodall Service but the police soon moved in and stopped it all.
Re: (313) Pirates (Toddla T "Take Me Back")
On 17 May 2011, at 14:23, Rob Taylor wrote: > depends what you mean by early days - i'm talking 91-94ish, so not > early early early days! Thinking 90-91sh, trying to remember when we use't to do the Retford Porterhouse run to see Easy D and Jumping Jack Frost! m
Re: (313) Pirates (Toddla T "Take Me Back")
On 17 May 2011, at 14:12, Rob Taylor wrote: > leeds had a few pirates too - dream fm was the best one - astonishing > variation of music, unlike the london ones Was that in the early days Rob? I remember people having Car Park parties with pirate station blurting after the clubs had kicked out at 2am, always on the edge of Leeds, got so big the police blocked them all off for a couple of weeks and killed the scene. m
Re: (313) Pirates (Toddla T "Take Me Back")
> > > Manchester had soul and reggae pirates but don't recall a techno/house one > but I'm going back a long time to 88ish when I was there for a year or so but > I could have missed 'em on the dial. They might have been more prevelant in > the early nineties as jungle broke. I remember Rob and Sean ae talking very passionately about pirates in Manc around 96-7. m
Re: (313) Pirates (Toddla T "Take Me Back")
On 17 May 2011, at 13:28, Mann, Ravinder wrote: > Hi, > > A slight tangent to this. Does anyone know if there is a pirate radio culture > in Detroit ? Would be interested to listen in if they stream over the > Internet. Not heard of anything, didn't Manc have a good pirate scene at one time Ravi? > > That Toddler T reminds me of Let Me Be Your Fantasy by Baby D more than > anything else. It could be loads of tracks but I think that's the point, Toddla's dad is a raver :) m
Re: (313) Toddla T "Take Me Back"
Are there many pirate stations still going Rob? Got a few early Rinse things that are good but I can't seem to listen for longer than 5 minutes now it's gone legit, too many shout outs and rewinds! m On 17 May 2011, at 13:12, Rob Taylor wrote: > looks like it's filmed in 'my' part of london too
Re: (313) Toddla T "Take Me Back"
On 17 May 2011, at 09:37, Rob Taylor wrote: > this is london, not 'whoohoo yay, go team!' america. people don't want > to look too enthusiastic. that would never do. ;) Moody as a speed garage night innit, the vibe is pretty much spot on I reckon, needed more back spins and shout outs for the real vibe tho :) m
Re: (313) Toddla T "Take Me Back"
To be fair, lot's of house lyrics are very similar around the early period, it's a big tune for Toddla. m On 17 May 2011, at 04:24, David Powers wrote: > Okay, well more obviously it rips lyrics direct from Ralphi Rosario > "You Used to Hold Me" ... > ~DP
(313) Shake Interview
Interview with our very own Shake: http://www.littledetroit.net/feeds/anthony-shakir-vs-intruders m
Re: (313) 313
On 27 Apr 2011, at 16:38, Odeluga, Ken wrote: > Time that address was bloked. > > Getting that person's spam is just boring Who's this as well: autorespon...@sparkasse-kehl.de Bitte antworten Sie nicht auf diese E-Mail. Vielen Dank für Ihre Nachricht. Wir werden Ihr Anliegen so schnell wie möglich innerhalb unserer Geschäftszeiten bearbeiten. Der Austausch von Nachrichten mit der Sparkasse Hanauerland via E-Mail dient ausschließlich Informationszwecken. Rechtsgeschäftliche Erklärungen werden über dieses Medium nicht angenommen. Bitte nutzen Sie zur Erteilung rechtsgeschäftlich verbindlicher Aufträge oder Weisungen (z. B. Überweisungen, Wertpapieraufträge, Einwendungen gegen Rechnungsabschlüsse, Belastungsbuchungen aus Lastschriften etc.) das durch unser Institut angebotene Online-Banking-Verfahren oder wenden Sie sich an Ihren Berater. Sparkasse Hanauerland, Hauptstraße 88, 77694 Kehl, Telefon (0 78 51) 8 60-0, Telefax (0 78 51) 8 60-4000, Sitz Kehl, Anstalt des öffentlichen Rechts, Handelsregister Freiburg HRA 370665 Kent? m
Re: (313) 313
On 27 Apr 2011, at 16:38, Odeluga, Ken wrote: > > > > > Instead, here's something fun, but maybe not for Derrick May anyone > (not!) seen this: > > http://is.gd/Gkj5vJ > You'd have to be gutted, although permission may be out of his hands to be fair m
Re: (313) 313
On 15 Apr 2011, at 15:59, ja...@iridite.com wrote: > Too true! What's everyone doing for Record Shop Day? Manchester at 5am, need that JD/NO release :) m
Re: (313) 313
Shall we have a 313 post day? It's kinda sad that the below is this weeks traffic :( m On 14 Apr 2011, at 21:59, > 313 I can't even begin to explain how good I feel > http://ftlauderdalecruise.com/searchresult-g_common_BH.php?CS=aHR0cDovL3d3dy5uYmMxMG9uLmNvbS8/a2Q4Mmgx > once you start this business you will be forever satisfied with the results > don't just sit there and think about it come on and try it if you are truly > tired of the daily stresses of working for someone else then try this > everything is going amazing for me since i started this > >
Re: (313) Moodyman Strikes Aagin
On 4 Apr 2011, at 16:04, kent williams wrote: > Me, with my new best friend, John Waters. > http://www.flickr.com/photos/chaircrusher/5583682621/in/set-72157626416142674 Great picture Kent m
Re: (313) Suggestions for Sheffield Music Special
I'll try and help but I think you'll be hard pushed to get interviews with anyone, people up here don't bother and are sick of talking about the past, it wasn't that great. Ozone isn't a Sheffield label either, it was part of Native from Doncaster, which is a bit like Detroit vs Windsor :) M On 28 Mar 2011, at 18:06, kent williams wrote: > To state the blindingly obvious, Dust Science? > > On Mon, Mar 28, 2011 at 12:39 AM, Richard Hester > wrote: >> In May, I'm going to be doing a 2-part radio special called "Steel City >> Techno", focusing on electronic music developments in Sheffield, UK. The >> first part will look at from 1988 to1994 or so, covering producers like Rob >> Gordon, Mark Brydon, Kirk, Richard Barratt, and others. Some labels I'll be >> looking at will be Fon, Ozone recordings, and the early releases from Warp. >> The second part will cover more recent developments, especially since Warp >> has moved to London. I'm looking for suggestions on both early and >> contemporary Sheffield labels to cover. I'm also looking for contacts I can >> interview. People with suggestions can contact me off-list. >> >>Regards, >>Richard Hester >>KFJC-FM >>www.kfjc.org >>
(313) Tunes
PAS - Temporary Suspension. Our favourite this month. It's been around a while but sometimes you just need the right amount of time. CoH - Strings. Joining dots that never existed and it has guitars in as well. Lovely stuff from the out edge of your speakers. William Basinski - 92982. Like the underside of Sheffield on a Sunday morning travelling home from a rave wanting your living room. Tim Hecker - Ravedeath - rather wonderful release from Tim, sparse but full. m
Re: (313) holy crap virgo 4 re-releases
30 tracks on 10 sides is some going tho m On 8 Feb 2011, at 23:16, wrote: > No, all the stuff on the CD is on the vinyl, I think I think Kent means the > vinyl doesn't get 30 tracks on by being a mega-mix!
Re: (313) The Vault - January 5, 2011 with Inigo Kennedy
Well done Anton m On 10 Jan 2011, at 02:38, AntonBanks.com wrote: > January is my 16 year radio anniversary. > Many thanks to all of the record labels, artist, > and booking agents who have sent me music for > my show over the past 16 years. Most of all, > thanks to YOU for listening to my show. It's > a great feeling to be able to share music I > enjoy with people around the world. > > Thanks for your support!
Re: (313) Afternoon 313
On 10 Dec 2010, at 14:25, logic7 wrote: > Sadly, I'm a member on the forum, but haven't logged in in ages. Hurry back cos Richie is drowning under a pile of indoor scarfs :) m
(313) Afternoon 313
Hey 313, We've been doing this: http://www.littledetroit.net/ What you been up to? m
Re: (313) NPR on Chicago Footwork music
>>> Even more fascinating, I can't think of any analogous dance culture >>> amongst white people. In the UK you have to go back to Morris, Clog and Northern Soul - but I wouldn't say they where/are exclusive. m
Re: (313) Aarron Carl has passed
R.I.P AC :(
(313) Sound Design + Electronic Music History
We touched on this a bit yesterday but I thought I'd share these links with people. It's difficult listening in places but very interesting and worth sticking it out. The idea of a completely original piece of music is fairly recent. Music was passed on through sound, through generations, even for centuries after the invention of written music. Only in the 14th century did it become standard practice for a composer to sign his name to a piece of music and claim it entirely as his own, giving rise to the cult of the individual composer. But as recording supplanted sheet music in the 20th century, the presence of communal influence became unavoidably obvious once again as composers began to use recordings to make new recordings. We can now hear the presence of more than one voice. And there is a reason why people don't say they listen to a record – they say that they play a record. From the beginning, recordings have been instruments. The first episode of this overview of appropriative collage in music covers the years 1909 through 1961, beginning with Charles Ives, who composed in a cut and paste style with sheet music in a way that anticipated what later composers would do with multi-track tapes and mixers. We skip through decades to arrive at "Twisting the Dials", the Happiness Boys' 1928 tribute to late night radio surfing, before moving to John Cage's proto-sampling pieces for radio and tape, "Credo in US" and the "Imaginary Landscapes". We witness the million-selling cut-in records of Buchanan and Goodman and the resulting lawsuits, Richard Maxfield's tape cut-ups of a sermonizing preacher, and conclude with James Tenney's dedicated dissection of a single recording of Elvis: "Collage No. 1", the first 'remix'. http://rwm.macba.cat/ca/variacions_tag Simon Sound Simon did a series of programs which he selected early pioneers from each country, again, well worth a listen: http://feeds.feedburner.com/thesimonsoundtransmission I have all the files if people would like copies m
(313) Sound Design + Electronic Music History
We touched on this a bit yesterday but I thought I'd share these links with people. It's difficult listening in places but very interesting and worth sticking it out. The idea of a completely original piece of music is fairly recent. Music was passed on through sound, through generations, even for centuries after the invention of written music. Only in the 14th century did it become standard practice for a composer to sign his name to a piece of music and claim it entirely as his own, giving rise to the cult of the individual composer. But as recording supplanted sheet music in the 20th century, the presence of communal influence became unavoidably obvious once again as composers began to use recordings to make new recordings. We can now hear the presence of more than one voice. And there is a reason why people don't say they listen to a record – they say that they play a record. From the beginning, recordings have been instruments. The first episode of this overview of appropriative collage in music covers the years 1909 through 1961, beginning with Charles Ives, who composed in a cut and paste style with sheet music in a way that anticipated what later composers would do with multi-track tapes and mixers. We skip through decades to arrive at "Twisting the Dials", the Happiness Boys' 1928 tribute to late night radio surfing, before moving to John Cage's proto-sampling pieces for radio and tape, "Credo in US" and the "Imaginary Landscapes". We witness the million-selling cut-in records of Buchanan and Goodman and the resulting lawsuits, Richard Maxfield's tape cut-ups of a sermonizing preacher, and conclude with James Tenney's dedicated dissection of a single recording of Elvis: "Collage No. 1", the first 'remix'. http://rwm.macba.cat/ca/variacions_tag Simon Sound Simon did a series of programs which he selected early pioneers from each country, again, well worth a listen: http://feeds.feedburner.com/thesimonsoundtransmission
Re: (313) New interviews
On 23 Sep 2010, at 21:01, maxphi...@gmail.com wrote: > http://www.residentadvisor.net/feature.aspx?1245 > > I'm quite surprised at all the negative feedback both on 313 and RA to Rick's > interview, largely on the basis of his comments about the vinyl / digital > debate in answer to just a few questions out of the whole article. I thought > he came off quite well overall. I don't feel people have been that negative, if you're going to be outspoken then you should at the very least expect people to answer back. > > For a remarkably different perspective, check out: > > http://www.littlewhiteearbuds.com/feature/little-white-earbuds-interviews-shed/ > A lot of people didn't seem to like the above interview much, I kinda did :) m
(313) Some tBd Mixes
Morning 313, Here's some mixes from us, mix of ambient and DJ sets. You can also grab them from here: http://soundcloud.com/the-black-dog The Black Dog – Drifting 2 – M:Cast Ambient Mix 1. Lustmord & Robert Rich – Elemental Trigger - Fathom 2. The Black Dog & Sean Bean – Drumhead – Dust Science 3. Jacaszek - Rytm to nie?miertelnio?æ I - Miasmah 4. Brian Eno & Harold Budd – The Plateaux of Mirror – Polydor 5. Labradford – I – Kranky 6. The Black Dog – Wait Behind This Line – Soma 7. Autechre – Yulquen – Warp 8. MLO – Aqua - Plus 8 Records 9. FUSE – Carocell – Plus 8 Records 10. Scanner – PuccScan – DS93 11. Throbbing Gristle – Weeping – Industrial Records 12. Beaumont Hannant – Water & Space – GPR 13. The Black Dog – Witches Ov (Beatless Version) – Dust Science http://www.theblackdogma.com/tbd/?p=1597 The Black Dog - 09. DJ Head Kick 01. Cio D’or – Seide (Tränensalz) – Prologue 02. Lucy & Ercolino – GMORK Dadub Tool – Stroboscopic Artefacts 03. Dinky – Anemik – Wagon Repair 04. Paco Osuna – Looking For V2 – PLUS 8 05. Mark Archer – I Said Funky – DS93 06. DNCN – Kitchener – Dust Science 07. Alec Troniq – I M The Foolaloof (TimsusaVsJanyang Rmx) – Broque 08. Sebrok – Brother, What Time Is It – Paso Music 09. Carl Craig – Darkness – Planet E 10. The Black Dog – CCTV Nation (Slam Remix) – Soma 11. Iori – Dial – Prologue 12. Silent Servant – (Regis Edit) – Sandwell District 13. Terence Fixmer – Electric City – Electric Deluxe 14. Pig & Dan – Organix – Cocoon Recordings 15. Mihalis Safras – There Is A Place (Harvey McKay Remix) – Material Series 16. Carl Taylor – DS27 – Dust Science http://www.theblackdogma.com/tbd/?p=1572 The Black Dog 08. Dark Days, Grey Nights 01. David Lynch – The Air Is On Fire – Strange World Music 02. Gas – Untitled – Kompakt 03. Pan Sonic – Wanyugo – Blast First 04. Nocturnal Emissions – Clear Bells – Earthly Delights 05. Alva Noto – Prototype 8 – Mille Plateaux 06. William Basinski – Fringe Area – Raster-Noton 07. Labradford – P – Kranky 08. White Rainbow – Awakening – Kranky 09. The Black Dog – Gate 21 – Dust Science 10. Lustmord & Robert Rich – Undulating Terrain – Fathom 11. Chris Watson – Vatnajokull – Touch http://www.theblackdogma.com/tbd/?p=1551
Re: (313) New interviews
On 23 Sep 2010, at 16:27, kent williams wrote: > I think that people should produce music how they want to produce, and > be judged on the results. I think if you stand where Rick Wilhite > stands, you'd be justifiably skeptical of digital DJs. I can disagree > with him and still have mad respect for him. Absolutely, I'd have a beer and a slice of pound cake with him anytime. m
Re: (313) New interviews
On 23 Sep 2010, at 14:11, kent williams wrote: > But you can't force people to take their own lives seriously. So why worry about it and why make it your reason for being? m
(313) Stingray - Now
http://www.ustream.tv/channel/dommune
(313) Good Docu's
Morning list, to counter my moaning - here's some of the good stuff :) If you haven't seen The Alchemists Of Sound, you really should: http://www.littledetroit.net/forum/viewtopic.php?f=1&t=31334 I also highly recommend What The Future Sounded Like: http://www.littledetroit.net/forum/viewtopic.php?f=3D1&t=3D31335 And finally DJ Derek, for being an outsider, a great selector and for going on every National Express route ever - brilliant DJ Derek http://www.littledetroit.net/forum/viewtopic.php?f=1&t=31249 m
Re: (313) New interviews
On 23 Sep 2010, at 02:44, David Powers wrote: > If my dad DJed like Rick Wilhite I might actually pay attention to > what he said... ;) Haha "Back in the day, we didn't have no flat wax, we used cylinders" > > I think Wilhite is right in many ways about the stupidity of the > electronic music business as a whole, but hasn't that always been the > case ever since music became a commodity? Ask Franz Schubert or > Charlie Parker... There's too many contradictions in the piece, he talks about "real musicians" in one breath and then about programming a drum machine in the next, which kinda voids his arguement about learning a "trade" because using a drum machine sure does bypass years of learning. Americans seem to be much more obsessed with "authentic" and "real" - like Bruce Springsteen is their poster boy! Techno for me is about saying fcuk off to those rockisms. The whole history of electronic music and sound design really interests me and when you read about how this guys struggled, you can't help but pay respect. And as far as I'm aware, all the equipment in the world still won't write you a good track. And sure, Beatport's top 10 is a crock of shite but worrying about that is like trying to influence the weather by making a cup of tea! m PS I also wonder if he's ever seen Kraftwerk live :)
Re: (313) New interviews
On 22 Sep 2010, at 15:26, kuszyn...@gmail.com wrote: > I agree with you on that - my own perspective focuses more on the > sound design and point of origin of the seed that was planted for > electronic music inside oneself. Not that I have necessarily a deep > amount of successful credibility (I did a self-released 12" and album, > am not terribly devoted to externalizing my recordings), I personally don't think it matters if you've had a commercial release or not. > but I always > approached electronic music from the synthesizer, the sound making > machine, and not from the record. I suppose I started wanting to make > techno before I heard techno. I have tapes from 1978 that are much the same, there's structure there but it's off-kilter, you can see it change when I got an ST and had lessons :) I've always tried to have a good mix of sound design and structure but mostly it's the music/track that dictates that I find. > Alternatively, my musical interests are > probably at least 50% outside of techno/dance music, and fall into > industrial, noise, ambient, and a lot of what I think of as some of > the most special UK stuff from the 90's like orbital, orb, fsol, > underworld. Dancey music, yes. After these 4, doesn't even make > sense to consider drivel like min_s something real. Nods, we've gone from The Beatles to Lustmord this morning :) m
Re: (313) New interviews
On 22 Sep 2010, at 14:58, kuszyn...@gmail.com wrote: > (Here comes some flame bait) > > And this is why I really like Jeff Mills. Frankly, I know very few > electronic music people who look at things as producers. They become > producers after djing, which to me isn't musical, it's beat making. Not sure if that's really correct, you still have to understand structure and key changes when DJing... m
Re: (313) New interviews
On 22 Sep 2010, at 11:41, Odeluga, Ken wrote: > I think he is a dad, FWIW. Then he should know better :) and should probably buy a guitar. m
Re: (313) New interviews
On 21 Sep 2010, at 18:56, wojciech wrote: > -With Rick Wilhite: > > http://www.residentadvisor.net/feature.aspx?1245 > It's so, so weird reading an interview from some who's into electronic music but bangs on like your f*cking dad! m
Re: (313) 'Detroit 1-8-7' Filmed In The City
“1-8-7 is another way to say homicide. We think it’s cool and represents the visual identity of the show, “ I'd love to hear him say that in a bar on 8-mile, what a prick. On 2 Aug 2010, at 10:17, Odeluga, Ken wrote: > Controversy of course. Or at least fake controversy. Will it have any Detroit > electronic music? > http://m.deadline.com/2010/08/tca-no-title-change-for-detroit-1-8-7/ > [Sorry if you get this twice, the list server doesn't like me much right now, > second attempt.] > Ken
(313) Bileebob - Get A Phone! - UR
Anyone know anything about this: http://www.youtube.com/watch?v=16nkgAXUiyw m
Re: (313) string synth sound
> > > As an Ableton W*nker I've noticed something curious about 909s -- if a > track uses a 909 as the master clock, the tempo is overall very > steady, but even and odd measures are slightly different lengths. > Makes warping tracks a little weird. Both the 808 and 909 tend to drift a little when old, it's a nice feature and keeps DJ's on their toes :) Both our machines go +/- 2bpm depending on how long they've been on, it can be fixed in software but we kinda like it. m
Re: (313) ANOTHER Mills album (and the future of Music Formats??)
On 7 Jun 2010, at 09:33, ja...@iridite.com wrote: > I had seen the CD-R's you get that look like vinyl (Black underside > and a raised groove with a small label on the other side like a mini > 45) but never one that actually had music on. The technology has been around a while, we did some sound design for a console game and the company wanted to do the same thing but bottled it because the price was to high for a "give away". Still, glad to see it's been used, although they do kinda make you nervous, will it get stuck? Will it wreck the needle? :) > > £30 - that's the price you pay for the Future I'm afraid :) I'll wait for the jet-pack :) m
Re: (313) ANOTHER Mills album (and the future of Music Formats??)
I've seen these before, aren't they like £30 a pop tho? m On 6 Jun 2010, at 14:12, ja...@iridite.com wrote: > It's a CD. But you turn it over and it's a mini-vinyl disk. With > music on it. That you play on a normal record player. So that's two > formats for the price of one - anyone ever seen anything like this > before? > > Jason
Re: (313) Acid Didj @ Paxahau
On 4 Jun 2010, at 15:04, telepat...@comcast.net wrote: > > http://www.flickr.com/photos/dangerfellini/sets/72157624071321055/ Nice picture Fred, great to see some of Richie's rig. m
Re: (313) DEMF 2010 weekend
Love the M500 pictures, thanks for sharing Angela... m On 7 Jun 2010, at 04:39, Detroit Techno Militia wrote: > I suck at written reviews, do I take pictures! I took a few thousand > pictures and posted most of them up here: > http://www.flickr.com/photos/technochick/ > > Enjoy! > > -- > Angela Schwendemann > Label Manager > Detroit Techno Militia > http://www.detroittechnomilitia.com > 313-449-8655
(313) The Black Dog - New Ambient Mix - Alien Symmetry
http://www.bodytonicmusic.com/podcasts/2010/may/25/bodytonic-podcast-081-black-dog/ • Brian Eno - An Ending (Ascent) - Polydor • Bitstream - Retreat Pod - Pylon Music • The Black Dog - BCN 4 - Dust Science • Coil - Box Theme - Solar Lodge • Pan Sonic - Suhteellinen - Blast First • Alex Smoke - Intro - Soma • Gas - Untitled - Kompakt • Fever Ray - If I Had A Heart - Rabid Records • Dave - Wire - Downwards • Monolake - Credit - Monolake / Imbalance Computer Music • FUSE - Carocell - Plus 8 • Plastikman - Lost - NovaMute, M_nus • Craig Armstrong - Delay - Sanctuary Records • Loscil - Cloister - Kranky • MLO - Sleeper - Reflective • The Black Dog - Delay 9 - Soma • Jacaszek - Powoli - Miasmah • BMB - All The Saints Have Been Hung - Counterbalance • Autechre - Eutow (The Black Dog's Arvo Alg Edit) - Warp • Jarvis Cocker - Lanhydrock - Old Music Box - National Trust Enjoy m
Re: (313) Aiyana Jones...
On 17 May 2010, at 06:31, kent williams wrote: > In a week where I had some seriously effed up police troubles in my > family, I guess I should count my blessings: > > http://www.detnews.com/article/20100517/METRO01/5170340/Family-grieves-death-of-girl--7--in-police-raid That's really said news Kent :( m
Re: (313) New Robert Hood Interview on Gridface
Nice read, will pass it on. m On 10 May 2010, at 13:20, Jacob Arnold wrote: > I had a wonderful phone conversation with Robert Hood the other night. He was > quite open about his vision of the future and the spiritual side of his > music. He also discusses brief flirtations with reggae and hip-hop as a youth > and what it was like growing up in Detroit: > > http://www.gridface.com/features/robert_hood.html > > Cheers, > Jacob
(313) Couple Of Mixes
Afternoon 313, Here's some mixes from us: X353 Sheffield vs Downwards via Ealing Tracklist: 01. Automotivation 2 – Cabaret Voltaire – Sheffield 02. Birth – Raudive – Ealing 03. It Slipped Her Mind – Sandra Electronics – Downwards 04. Victims – Tropic Of Cancer – Downwards 05. Revox Love – Machinagraph – Sheffield 06. TV AD – Machinagraph – Sheffield 07. Do The Mussolini (Head Kick) – Cabaret Voltaire – Sheffield 08. The Set Up – Cabaret Voltaire – Sheffield 09. Entrance (Machinagraph Edit) – Raudive – Ealing 10. Chemistry (Machinagraph Edit) – Antonym – Downwards 11. Spread The Virus – Cabaret Voltaire – Sheffield 12. New Girls Neutron – Vice Versa – Sheffield 13. Being Boiled – Human League – Sheffield http://www.theblackdogma.com/tbd/?p=1446 FACT mix 144: The Black Dog Tracklist: 01. Purity Device – The Thought Police (Bitten By The Black Dog) 02. The Black Dog – Tunnels Ov Set (Autechre Remix) 03. The Black Dog – Dada Mindstab (Live Mix) 04. The Black Dog – Future Delay Thinking (Live Mix) 05. Grievous Angel – Billy Preston (Bitten By The Black Dog) 06. The Black Dog – Floods (Surgeon Remix) 07. The Black Dog – Spher (Bass Soldier Remix) 08. The Black Dog – Northern Electronic Soul (Claro Intelecto Remix) 09. The Black Dog – CCTV Nation (Redshape Remix) 10. The Black Dog – CCTV Nation (Slam Remix) 11. The Black Dog – Skin Clock (Silicon Soul Remix) 12. The Black Dog – Train By The Autobahn (8 Mile Remix by Rob Hood) 13. LFO – LFO (Bitten On The Sly By The Black Dog) 14. Slam – Azure (The Black Dog’s Corned Beefy Remix) http://www.factmag.com/2010/04/26/fact-mix-144-the-black-dog/ m
