RE: RE: [313] the LONG & short of dj sets
>From: "Topping, Micah" <[EMAIL PROTECTED]> >To: 313@hyperreal.org >Date: Wed, 31 Jan 2001 17:26:22 -0500 >Subject: RE: [313] the LONG & short of dj sets > >> >nah. >> > >> >pessimists are either always right or pleasently surprised. >> > good to hear that. call me a "pessimists through and through". >> > >> >> or maybe never being able to get where they want to be >> in this business because they dwell on that sort of thinking. >yes, heaven forbid someone treat music as an art or a form of pleasure >instead of a business. >that kind of thinking will get you nowhere but happy. > if an artist is going to deal with the "music business", they shouldn't complain about it being treated as a "business". That is what s/he is there for, isn't? if an artist isn't into doing "business", then s/he wouldn't be bothering with the "music business", s/he be off making music for themselves and for others for free and be satisfied with that. don't blame the butcher for selling you meat. cc --== Sent via Deja.com ==-- http://www.deja.com/
re [313] Karlheinz Stockhausen
Oh, I forgot, "Kurzwellen" is a pretty good one too! ;) cc --== Sent via Deja.com ==-- http://www.deja.com/
re [313] Karlheinz Stockhausen
>> -Ursprüngliche Nachricht- >> Von: Dave Dawson <[EMAIL PROTECTED]> >> An: 313@hyperreal.org <313@hyperreal.org> >> Datum: Donnerstag, 18. Januar 2001 05:19 RON >> Betreff: [313] Karlheinz Stockhausen >> >> >> > >> >Here is a text about Karlheinz Stockhausen. >> > >> >This may be slightly off topic. It says in the >> article that He influenced >> >kraftwerk among others, so some might find it of >> interest. Any one heard >> his >> >music? Worth seeking out? >> > >> Stockhausen has been a great influence on a lot of people. His approach towards composition and sound construction as well as much of his actual music is really inspiring. I will say though that I think his approach towards sound construction works a lot better when he realizes it electronically instead of with traditional instruments/voices. (ditto for Xenakis) As a result, my appreciation for Stockhausen is mostly with regard to his electronic output, which, though only a small portion of his total work, is of consistently high quality. My all time favorite Stockhausen piece is "Hymnen", which was dense masses of sound into which was incorporated national anthems, shortwave radio sounds, choral effects and "found voices". The whole piece flows excellently and is a journey through a very wide range of moods, sounds and techniques while remaining very focused, coherent and composed. His music is decidedly experimental, though. No beats, overt rhythms or melodies, at least not in any conventional sense, though "Hymnen" does have an obliquely consonant feel to it and has a very palpable sense of momentum. His music can also shift on you quite suddenly with sounds or voices suddenly, and sometimes loudly, coming out of the mix at you. i wouldn't call it "scary" music, but it isn't ambient "mood" music designed to be played in the background and ignored. the music is composed and sounds best (and reveals the most) when you actively engage in it. if you're interested in exploring his electronic works, I'd suggest checking out: Hymnen Gesang der Junglinge Kontakte Telemusik Mixture Mikrophonie I & II They were all released on Duetsche Grammophon on LP and have been rereleased on CD recently, though the prices on the releases are obscenely high. If you have a good public library nearby, I'd suggest stopping my the classical music dept. first and seeing if they have the LPs available for listening. Have fun! cc --== Sent via Deja.com ==-- http://www.deja.com/
Re: [313] Detroit techno isn't techno?
>From: "ab" <[EMAIL PROTECTED]> >To: <313@hyperreal.org> >Date: Thu, 28 Dec 2000 18:37:21 -0800 >Subject: Re: [313] Detroit techno isn't techno? > >the first time i saw derrick may live i thought he was playing 'house'. I >have no idea about techno or house but it sounded like what i would call >house music. > >It was later explained to me that he was playing techno - i never thought >techno was all funked up!! > >i still have no idea! > > anecdote time: I made a tape for someone once who wanted to hear some goa trance. I personally like the Israeli style, which tends to be very groovy and polyrhythmic. When I aksed him later on what he thought of the tape, he said that he wasn't expecting to hear house music I was very taken aback, as anyone who's heard goa would say that it sounds nothing like house. sometimes I think people use "house" as a catch-all term for anything that has some booty/groove to it and "techno" anything that sounds more rigid/mechanical. cc --== Sent via Deja.com ==-- http://www.deja.com/
RE: [313] christmas in detroit
wish i could be there... ;(( cc >From: "dj revolver" <[EMAIL PROTECTED]> >To: 313@hyperreal.org >Date: Tue, 19 Dec 2000 11:49:54 -0500 >Subject: [313] christmas in detroit > >our good friend dianna potts asked me to post this: > >christmas night 12.25.2000 >Kevin Saunderson >kmsproductions.com > >Kenny Larkin >Art Of Dance > >Stacey Pullen >Black Flag > >Kelvin Larkin >Art Of Dance > >theworks >1846 Michigan Ave. @ Rosa Parks Blvd. >2 blocks West of the old Tigers Stadium >(313) 961.1722 > >[monday] 12:25:2000 >10pm - 6:00am >18+ (w/ proper ID) >$20 > >event info line: (313) 964.8899 >email: [EMAIL PROTECTED] > >join us for this very special event featuring true Detroit >originals. This is a night for all to enjoy and cherish >the culture and experience that is Detroit. A rare >intimate evening with four truly innovative musicians, >that will not soon be forgotten. > > >_ >Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. > > >- >To unsubscribe, e-mail: [EMAIL PROTECTED] >For additional commands, e-mail: [EMAIL PROTECTED] --== Sent via Deja.com ==-- http://www.deja.com/
Re: [313] recovering vinyl
> A technique for recovering warped vinyl that i've used, that my >friend who > is a hip hop Dj told me, is to place the record on a >towel on top op a > clothes dryer, and then place a wholbunch of books >etc. on top of it when > you dry your clothes. Has done the trick for >me b4. I warped an album once by accidentally leaving it on the turntable, which was by a window, on a sunny afternoon. (moved the turntable IMMEDIATELY afterwards) I tried all sorts of tricks, including the one suggested above (well, I used sunlight instead of a dryer) and none of them worked. Even tried an iron and that did work either. that record is still very warped. cc --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
Jeff Mills- From the 21st
Would someone be able to review this CD? Is it all new a mixture, like "art of connecting"? cc --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
Acid House?
I'm very curious to hear what 'acid house' sounds like. when it was in its heyday, i was very much into another scene and basically missed it. a friend of mine told me that early Guy Called Gerald (who i LOVE) and Eddie Flashin' Fowlkes (birth of technosoul) could be considered 'acid house'. is this true? if so, could anyone suggest something from that time period that would be worth checking out? (my friend doesn't know much more than i do, so he's not much help) cc --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
Re: [313] not black enough...
>Date: Sun, 10 Dec 2000 01:05:49 +0100 >From: Danny Wolfers <[EMAIL PROTECTED]> >To: 313@hyperreal.org >Subject: Re: [313] not black enough... > >> > >Well...I think the biggest concern with dance music is that it >> > becomes synonymous with the trippy drug scene. We're definitely >> > moving towards that. >> >> > Hey, what's wrong with bringing a little "trippiness" into the music?? > >Trippiness is like communism an evil thing and should not be in your >beautifull american music., If you start with a "little" trippiness in music >it doesn't take a while before all beauty of music is gone! You'll get good >producers saying: "Ah..we must be trippy..well hmm...lets get rid of all >that melody and musical coherence and just throw in f*ckin filtered pads and >this tibetian chant everywhere..oh..wait a minute...why not put a DOLPHIN >noise in the track, that is trippy man ill just keep pressing this one key >oh...yeah...groovey..man" > i do hope you're kidding here. "trippy" is not in opposition to melody. "trippy" isn't necessarily gratuitous noise thrown in. no matter what, there will always be some producer whose line of thinking is, "we must be X, so we need to do this", instead of producing something creatively without worrying about what genre it will fall into before it is even created. For me, at least, "trippy" is when the music is really layered and complex and the activity in the mix will change at unexpected times. Music where you really don't know what will come next. a health element of surprise and the less obvious the better. Maybe the rhythms will shift suddenly, or the ambience will starting morphing into something without regard for what the kick drum happens to be doing. Or where the "minimal" repetitions start affecting your perception of what is happening. some of Jeff Mills' earlier tracks really distort my perception of time (no drugs needed). Or the way kenny larkin's stuff will have lots of layering where each seems to go its own way, yet the music is cohesive. even terrence dixon's CD has some very fun, almost oblique moments. Atom Heart is the perfect example of "trippy" and cohesive without being gratuitous, but I guess he isn't "Detroit" enough... >History has teached us that trippyness is the end of everything...look at >the hippies, lazy f*cks who haven't achieved anything, except putting >civlized society back ten years. If trippynis becomes involved in art it >becomes crap. dearie! i guess where's not in kansas anymore!! cc --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
Re: [313] not black enough...
>Date: Sat, 9 Dec 2000 17:58:03 -0500 (EST) >From: Lester Kenyatta Spence <[EMAIL PROTECTED]> >To: c c <[EMAIL PROTECTED]> >cc: 313@hyperreal.org >Subject: Re: [313] not black enough... > >On Sat, 9 Dec 2000, c c wrote: > >> >From: Lester Kenyatta Spence <[EMAIL PROTECTED]> >> >> >Well...I think the biggest concern with dance music is that it >> becomes synonymous with the trippy drug scene. We're definitely >> moving towards that. > >> Hey, what's wrong with bringing a little "trippiness" into the music?? > >Nothing...unless you're not into drugs. > you don't need to be into drugs to appreciate some "out of left field" musical inventiveness. don't need to be into drugs to appreciate severed heads, cabaret voltaire, model 500, kenny larkin, shawn rudimen, etc... >> I personally would love to see something like goa-style trippiness and >> experimentation explored in Detroit techno. I've heard hints of it in >> a few things and its been quite fun. > >It'd be interesting to see the effect that's for surebut it runs >counter to what I think of when I think of the music. > what do you "think of" that it would run counter to? >> And I think the "inner city" feel that would be infused into it if it >> came from the "black community" would make it even more interesting. >> Change the rhythms on PE's 'Fear of a Black Planet' and you've got the >> makings of "inner city" psy-techno. > >Could be...but I'm just coming from a different mindset. > >> besides, I'd rather be around a bunch of acidheads wigging out to some >> freaky, groovy music than a bunch of coke/k fiends looking for the >> next bump. Since the drugs are unavoidable in "the scene", why not >> pick a more creative poison? > >This is the central question though. WHY are drugs "unavoidable?" I >could've missed something...but drugs weren't a big part of the scene I >participated in...with the exception of weed maybe, and that wasn't done >in the clubs, but either before or after.. > i got into music and going out LONG before I even thought about trying drugs, yet I knew people who were into it. for a number of people the music is secondary and the drugs and primary. they happen to be the one's who get noticed more freqently becuase they more obviously "can't get a grip" for many people, the drugs can be used to simply enhance the music. like whip cream on your hot chocolate. i personally LOVE having a good toke and then going to hear my favorite music at a club, though i go sober and remain so more often than not and enjoy the music nonetheless. having a shot of tequila or vodka at the club can be used to the same end, but few people bother to comment on that type of drug use. either way, drugs (including alcohol) and music always seem to keep close company, in every scene, like it or not. cc --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
Re: [313] not black enough...
>From: [EMAIL PROTECTED] >Date: Sat, 9 Dec 2000 18:15:03 EST >Subject: Re: [313] not black enough... >To: [EMAIL PROTECTED], 313@hyperreal.org > >the problem isnt the type of drugs--its the kids using them. give the same >16 yr old acid...they will still create the same problems they do on K or >anything else. the older you get, the more responsible you get. yes, there r >some (very few) exceptions. > true enough. the drugs don't suddenly improve the character of the person taking them, but I still think that certain drugs lend themselves to, if nothing else, to an atmosphere more conducive to "creatve moments". yeah, some fools are still fools, regardless of how much you "expand" their consciousness, be it through music or drugs. cc --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
Re: [313] not black enough...
>Date: Sat, 9 Dec 2000 02:09:54 -0500 (EST) >From: Lester Kenyatta Spence <[EMAIL PROTECTED]> >Well...I think the biggest concern with dance music is that it becomes >synonymous with the trippy drug scene. We're definitely moving towards >that. Hey, what's wrong with bringing a little "trippiness" into the music?? I personally would love to see something like goa-style trippiness and experimentation explored in Detroit techno. I've heard hints of it in a few things and its been quite fun. And I think the "inner city" feel that would be infused into it if it came from the "black community" would make it even more interesting. Change the rhythms on PE's 'Fear of a Black Planet' and you've got the makings of "inner city" psy-techno. besides, I'd rather be around a bunch of acidheads wigging out to some freaky, groovy music than a bunch of coke/k fiends looking for the next bump. Since the drugs are unavoidable in "the scene", why not pick a more creative poison? cc --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
Terrence Dixon
I just recently picked up Terrence Dixon's 'Far from the Future', which I really like a lot. Does he have anything else out that is still in print? thanx, cc --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
RE: [313] Genesis P-Orridge
I wish I could be there... cc >Date: Thu, 16 Nov 2000 19:56:30 -0500 >From: Gerald <[EMAIL PROTECTED]> >To: 313@hyperreal.org >Subject: [313] Genesis P-Orridge > >Aight, this might not be exactly 313 related, but I had to let you guys >know. > >I know there are a few out there in 313 land, who would be extremely >interested in this event! > >GENESIS P-ORRIDGE >LEE's PALACE, 529 Bloor Street West, TORONTO >THURSDAY November 23rd 2000. >Tickets are $12 (Canadian) in advance from The Record Peddler, Pages, >Pleasure Dome and Trinity Square Video, or $15 at door. >Sponsored by FADO, PLEASURE DOME and TRINITY SQUARE VIDEO. Co-sponsored >by >7A*11D and InterAccess > >TORONTO, Canada... A special celebration of the ongoing L-if-E and >expanded-media works of >GENESIS P-ORRIDGE. The night will consist of approximately 90 minutes of >video/movies produced by Genesis. These include the previously never >ever >projected or viewed videos of COUM TRANSMISSIONS actions by Genesis >called >"MUSIC FOR STOCKING TOP AND STARECASE" (correct pun) and "RECTUM AS >INNER >SPACE". These were made at the Royal College of Art in 1975 and were >believed lost! The crumbling reel to reel videos were recently >discovered in >the archives of The Last Museum and restored digitally at rather great >expense. This is a very art historically important premier. Also to be >shown >for the first time a collaboration between Genesis, Skinny Puppy's Ogre >and >Process Media Lab (Brother William Morrison) as well as short films >using >Derek Jarman as camera person in the 1980's. The film/video show will be >followed by a rare chance to meet the artist in a question and answer >session. An intermission will be followed by a full length EXPANDED >POETRY >action by THEE MAJESTY live featuring BRYIN DALL, LARRY THRASHER, >GENESIS >P-ORRIDGE and MISS JACKIE!!! > >More information on Pleasure Dome can be accessed at: www.pdome.org. >If that doesn't work get directly in touch with Scott Treleaven via >email at >[EMAIL PROTECTED] > >- >To unsubscribe, e-mail: [EMAIL PROTECTED] >For additional commands, e-mail: [EMAIL PROTECTED] --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
Stacey Pullen's new CD
Some time ago, I think mention was made of a new Stacey Pullen album. If anyone has any more info, especially where I can get it online or by mailorder, I would greatly appreciate it. If this information was already posted, forgive me. I had to unsub for a short while. Thanks in advance cc --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
