Re: [313] PS
I must second the late respect-due. Picked this up about a month ago. Pretty grrovy stuff I must say. And it's amazing how much music you can pack onto one slab of wax. Tristan == PHONOPSIA<[EMAIL PROTECTED]> http://www.geocities.com/SunsetStrip/Lounge/5102 "FrogboyMCI" on AOL Instant Messenger New Album, "Québécois", online now. -Original Message- From: Oliver Barkovic <[EMAIL PROTECTED]> To: Tim Barr <[EMAIL PROTECTED]> Cc: 313 list <313@hyperreal.org> Date: Friday, September 29, 2000 10:19 AM Subject: Re: [313] PS >Hey!!! Picked up the CIM comp album (Reverence err I forget) last >night!!! Fantastic!! Isn't he on the list?? > > >If you are on the list great job, I never seen any of your Focus 12"'s >around here but email me privately and we can talk. > >I saw that Tom's name was on the back of the album. > >Ollie > > >Tim Barr wrote: > >> It's getting close to Christmas and still no Tom Churchill album. >> >> Please Tom, u don't want to see a grown man cry do you? >> >> Love >> >> Tim >> >> - >> To unsubscribe, e-mail: [EMAIL PROTECTED] >> For additional commands, e-mail: [EMAIL PROTECTED] > > >- >To unsubscribe, e-mail: [EMAIL PROTECTED] >For additional commands, e-mail: [EMAIL PROTECTED] _ Do You Yahoo!? Get your free @yahoo.com address at http://mail.yahoo.com
Re: [313] in defense of the shift...
When you read the subject line, the first thing you think of is not a
musical phenomenon.
OK. I'm done being silly for one evening, at least on the computer.
Tristan
==
PHONOPSIA<[EMAIL PROTECTED]>
http://www.geocities.com/SunsetStrip/Lounge/5102
"FrogboyMCI" on AOL Instant Messenger
New Album, "Québécois", online now.
-Original Message-
From: darw_n <[EMAIL PROTECTED]>
To: 313@hyperreal.org <313@hyperreal.org>; [EMAIL PROTECTED]
<[EMAIL PROTECTED]>
Date: Friday, September 29, 2000 5:26 PM
Subject: [313] in defense of the shift...
>First off, I am not the best writer, although I fancy myself to be, I
>realize I am so-so. With that in mind, please reconsider something...
>
>Toneshifting as an effect (major/minor shifting in repetitious percussion)
>is only , that, a mundane psychological effect. But the *theory* of
>Toneshifting as it can be applied to music (and perhaps even more wide
>spread than that!!) is far more complex in that it uses that effect as a
>tool to achieve total equality between the audience and the artist. It is
>primarily concerned with techno and its new approach to art ("it" using
>toneshifts as its main "medium" if you will), and indeed, how techno as an
>art is appreciated by the individual in an entirely different manner than
>other modern musics, I contest with this theory that techno has to create a
>whole new ground aside from other music and all the pre-existing theories,
>it operates like no other...
>
>I am trying to combine art with psychology, sociology, and philosophy,
>daunting task yes, but nonetheless, possible. And keep in mind that our
>music and the scenes that came with it are left unassessed (why?) and
>perhaps soon to be forgotten if left that way. Anyways, down below is some
>excerpts from a conversation I just had with someone on this list, I use it
>to demonstrate that there is more to this than simple acoustics...
>
>The other thing I *know* is happening is people are getting quite mad
>(admittedly or not) in that I am basically stating that an artist is pretty
>mush on the same level as the audience, if not even lower, I am attempting
>to strip the glory and glamour of the artist (I am an artist too, it is
>something I am more than happy to give up). I truly feel that this is
>explainable through things such as personality traiting and such, and such
>is what I believe. I also really don't think we are all that different
from
>one another, we are all the same species, thus making it possible to at
>least be some what general in approach (the MMTI has about 16 personality
>types, all of which are very accurate in personality prediction, something
>to ponder.)...
>
>Here's my words from the conversation [edited]:
>
>In a different approach, is that with say a piece of melodic complexity,
the
>artist is speaking and projecting _out_ his/her views and visions in a very
>precise manner. To the audience, that piece is a matter of interpretation
>and entertainment only, the audience does nothing more (at best he can
>"relate" to that piece). Toneshifting with repetition however is the exact
>opposite, nearly eliminating the artist as an all powerful being speaking
>his word. With toneshifting, we are reducing him to a point not much
>different in prestige of simple a mason worker, unrealized yet skilled
>(something the artist generally hates, thus giving fuel to those who argue
>against toneshifting). It is the audience that has the soul and ideas in
>which are important, and will add life and imagery to create a soulful and
>complete track. So instead of the artist being the lone projector and
>speaker, it is the audience too that carries this primary role...
>Sure, the music that is quantified and theorized upon can be pretty mundane
>unto itself once the formula is realized. But that's the point and should
>be sought after with techno, take away that artists _defined_ soul and
>imagery from the music and just leave raw emotion, and allow the audience
>the freedom to project his/her soul and defined emotions to where the soul
>and defined emotions are lacking, this is the essence of what I am trying
to
>say, and do so with toneshifting (something you just can do with Paul
>Oakenfold or other "artists" that project their highly defined emotions and
>souls _out_ at the audience). So, not only does toneshifting make the
music
>complete, but totally *interactive* and *equal*. So I contend the music
can
>be much more than just a recording with this theory I propose to you, in
>that *each and every listener is going to think and project something
>completely different from the next listener, thus making the music
>absolutely timeless and boundless...*
>*No longer, with toneshifting, is the audience expected to simply hear,
>interpret, and reflect, now instead, the audience has the ability to put
>what ever emotion or imagery they want into the picture. Techno allotted
the
>individual to in complete con
The lingering effects of filming Knight Rider a few blocks from your childhood home
I'm still pissed that somebody beat me to that sample... Knight Rider = Dukes of Hazzard meets the Equalizer? Or did the Equalizer come after Knight Rider? It's too bad they don't make TV shows about a car anymore. Now that's some Detroit tie in for ya. Tristan == PHONOPSIA<[EMAIL PROTECTED]> http://www.geocities.com/SunsetStrip/Lounge/5102 "FrogboyMCI" on AOL Instant Messenger New Album, "Québécois", online now. -Original Message- From: Diana Potts <[EMAIL PROTECTED]> To: [EMAIL PROTECTED] <[EMAIL PROTECTED]>; 313@hyperreal.org <313@hyperreal.org> Date: Friday, September 29, 2000 1:28 PM Subject: Re: [313] Swedish Techno > > >>From: [EMAIL PROTECTED] >>To: 313@hyperreal.org >>Subject: Re: [313] Swedish Techno >>Date: Fri, 29 Sep 2000 11:38:46 +0200 >> >> >> >>IMHO good music is the music which provokes other musicians(positive or >>negative) >> >> >> >>154 > >Hmmm...this brings a whole new light to those David Hasselhoff albums... > >http://allmusic.com/cg/x.dll?p=amg&sql=B142889 > >d > >_ >Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. > >Share information about yourself, create your own public profile at >http://profiles.msn.com. > > >- >To unsubscribe, e-mail: [EMAIL PROTECTED] >For additional commands, e-mail: [EMAIL PROTECTED] _ Do You Yahoo!? Get your free @yahoo.com address at http://mail.yahoo.com
in defense of the shift...
First off, I am not the best writer, although I fancy myself to be, I
realize I am so-so. With that in mind, please reconsider something...
Toneshifting as an effect (major/minor shifting in repetitious percussion)
is only , that, a mundane psychological effect. But the *theory* of
Toneshifting as it can be applied to music (and perhaps even more wide
spread than that!!) is far more complex in that it uses that effect as a
tool to achieve total equality between the audience and the artist. It is
primarily concerned with techno and its new approach to art ("it" using
toneshifts as its main "medium" if you will), and indeed, how techno as an
art is appreciated by the individual in an entirely different manner than
other modern musics, I contest with this theory that techno has to create a
whole new ground aside from other music and all the pre-existing theories,
it operates like no other...
I am trying to combine art with psychology, sociology, and philosophy,
daunting task yes, but nonetheless, possible. And keep in mind that our
music and the scenes that came with it are left unassessed (why?) and
perhaps soon to be forgotten if left that way. Anyways, down below is some
excerpts from a conversation I just had with someone on this list, I use it
to demonstrate that there is more to this than simple acoustics...
The other thing I *know* is happening is people are getting quite mad
(admittedly or not) in that I am basically stating that an artist is pretty
mush on the same level as the audience, if not even lower, I am attempting
to strip the glory and glamour of the artist (I am an artist too, it is
something I am more than happy to give up). I truly feel that this is
explainable through things such as personality traiting and such, and such
is what I believe. I also really don't think we are all that different from
one another, we are all the same species, thus making it possible to at
least be some what general in approach (the MMTI has about 16 personality
types, all of which are very accurate in personality prediction, something
to ponder.)...
Here's my words from the conversation [edited]:
In a different approach, is that with say a piece of melodic complexity, the
artist is speaking and projecting _out_ his/her views and visions in a very
precise manner. To the audience, that piece is a matter of interpretation
and entertainment only, the audience does nothing more (at best he can
"relate" to that piece). Toneshifting with repetition however is the exact
opposite, nearly eliminating the artist as an all powerful being speaking
his word. With toneshifting, we are reducing him to a point not much
different in prestige of simple a mason worker, unrealized yet skilled
(something the artist generally hates, thus giving fuel to those who argue
against toneshifting). It is the audience that has the soul and ideas in
which are important, and will add life and imagery to create a soulful and
complete track. So instead of the artist being the lone projector and
speaker, it is the audience too that carries this primary role...
Sure, the music that is quantified and theorized upon can be pretty mundane
unto itself once the formula is realized. But that's the point and should
be sought after with techno, take away that artists _defined_ soul and
imagery from the music and just leave raw emotion, and allow the audience
the freedom to project his/her soul and defined emotions to where the soul
and defined emotions are lacking, this is the essence of what I am trying to
say, and do so with toneshifting (something you just can do with Paul
Oakenfold or other "artists" that project their highly defined emotions and
souls _out_ at the audience). So, not only does toneshifting make the music
complete, but totally *interactive* and *equal*. So I contend the music can
be much more than just a recording with this theory I propose to you, in
that *each and every listener is going to think and project something
completely different from the next listener, thus making the music
absolutely timeless and boundless...*
*No longer, with toneshifting, is the audience expected to simply hear,
interpret, and reflect, now instead, the audience has the ability to put
what ever emotion or imagery they want into the picture. Techno allotted the
individual to in complete control of there wandering minds, and thus a whole
movement was based on this notion of escaping through dreaming...*
darw_n
"create, demonstrate, toneshift..."
http://www.mp3.com/darw_n
http://www.sphereproductions.com/topic/Darwin.html
http://www.mannequinodd.com
RE: Re: [313] innovator
Thomas Barnette was the aleged culprit. I don't know if this was ever confirmed. I like Tom but I don't like what he spins.
Re: [313] ESI Festival Lansing
> SRM & Trent Abbe I'm not sure who "SRM" is, but I would urge anybody who's going to this to check out Trent Abbe from 3-4PM on Saturday. I probably won't be able to make it myself, but I'd actually consider it to hear Trent. He's a great DJ, and a nice guy to boot. His style is somewhere between Mills & Claude Young - he likes to do doubles, scratch, and mess with his records, but he's also got broad taste, ranging from house to techno to electro. I pull out the tape I've got of him on WDBM's The Mechanical Pulse every now and then, and it bangs, but not like dex/fx/909 style banging - it's got funk, a good flow, and a true progression. Bill / dj marathon -- http://www.chromedecay.org
Re: [313]Super Collider
In a message dated 9/29/00 5:45:48 AM, [EMAIL PROTECTED] writes: >Super Collider are Cristian Vogel and Jamie Lidell, essential stuff btw... > > > >[EMAIL PROTECTED] > > Yep, saw their show at the Tresor Club during the Love Parade Weekend. Quite interesting really, sorta got a performance art thing going. Jamie's wearing a white lab coat and some dude during the show would put stensils on Jamie and spray paint the stencils and words like conformity, hate, etc etc. would appear, all the while Jamie's wailing into the mic. Boy does that guy got some soul in em'. I was told that Christian and Jamie wanted to make R&B under this moniker and the result is turned out to be "twisted". Pretty good stuff nonetheless. G l y p h
Re: [313] who are these people/robots
| anyone have any info on 'olga+josef ' ep?.been listening to it, | wondering if they have recorded any other material in same vein. out. bond. olga&jozef is an old couple who live in the distant mountains of trata, slovakia. olga is a proud housekeeper and jozef is the principal for a local private school. their two kids (dalo and brano) live miles away in bratislava and run a club called Uclub (www.uclub.sk) and three labels... olga&jozef (after their beloved parents), numb and PVC. check www.olgaplusjozef.sk for a back catalog. ___ ____ ___ ___ ___ (_-< / _ \ / // __// -_)/ -_)/ -_) /___// .__//_/ \__/ \__/ \__/ \__/ /_/ mailto:[EMAIL PROTECTED] ICQ.4627247.altere.a.mimica. www.spiceee.com
RE: Re: [313] innovator
> speaking of derrick co-producing records. . . recall about a month ago > when someone posted to this list that one nite when derrick may was > spinning at temple someone (i can't remember the name) came up and spit on > may's record and (i think) removed the tone arm from the record. i > later heard (although i can't attest to the source's validity) that this > person was jaded towards may because they produced music together back in > the day but may took all the credit and never gave any kickbacks. can > anyone confirm or deny this? Sounded like a pretty wack story when I first heard it, but Real Detroit did write about it in their gossip column. The week after, they explained the situation with May never giving Barrett the money he owed him from "Nude Photo." I don't exactly remember the story perfectly, but I do remember it being about money. Still seems pretty damn juvenile to me. And embarressing for both guys.
Re: [313] Riou ?
> "gc" == Gwendal Cobert <[EMAIL PROTECTED]> writes: >> I also like the more ascetic sorts of minimalism (Plastikman, >> Riou, Landstrumm). gc> so do I, Plastikman and Landstrumm I know, but Riou ? what gc> label, where can I hear some of it ? Gwendal Riou Tomita is a Japanese techno artist, with three LPs and a handful of singles out on Kk Records. A reasonably complete discography can be found at http://www.aoaioxxysz.net/music/discography/riou/. His personal page, which is unfortunately (for me, as I can't read it) in Japanese, is at http://www.sound-channel.com/jp/artist/riou.html. _Cone of Confusion_ and the "Head Room" EP are both good places to start. He's been quiet recently, but is apparently working on a number of Japan-only things for the Sound Channel label. Some samples from _Exhibition Of The Samples_ are available on Amazon, although it's hard to get the flavor of what he's doing in 30-second chunks. It's moody, propulsive, and _very_ electronic sounding. Forrest . . . the self-reflecting image of a narcotized mind . . . ozymandias G desiderata [EMAIL PROTECTED] desperate, deathless (415)558-9064http://www.aoaioxxysz.com/ ::AOAIOXXYSZ::
Re: [313] Derrick May / Kech
But anyway, the first track on >Volume 1 is a gorgeous, soulful track by someone named Kech called >"Irony". It's the only thing I've ever heard by this particular >artist, and that's a shame. Anyone have the story on this personage >(these personages), including where I can find more music by him / her >/ them? "Detroit Techno-Soul" indeed! kech aka ken harrington is involeved in thd aka strand an interview from kech can be found at http://www.d2b.org/EAR/seprononceoreilleezine.html this interview was made several years ago... cheers disk.system
ESI Festival Lansing
Capitol City Electronic Sound & Image Festival September 29th and 30th Old Town Lansing Friday 29th Traxx Keith Kemp & Derek Plaslaiko Dijitalz Lex Loco & Nano 2 Hype Stylus Pilots Miles Serge Katalist Nick G Saturday 30th Derrick May John Tejada Eclipse Layout (Mike Ransom & Kaku) : Live Scotty V & Addic/Ted John Beltran, Jeremy Ellis, and John Arnold : Live Ian Schofield Kevin Reynolds : Live SRM & Trent Abbey DJ Seoul Andrew G D Leone Free of Charge www.esifest.com 517.336.7790
RE: [313] nsc/ron murphy
what's the latest word? hoping for the best, j _ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com.
Re: Re: [313] innovator
i can't confirm, coz i wasn't there..but i recall the name barnett propping up somewhere..anyway that type of behaviour is unwarranted...out. bond - Original Message - From: "Kyle J Dupuy" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Cc: "debonair" <[EMAIL PROTECTED]>; <313@hyperreal.org> Sent: Saturday, September 30, 2000 2:10 AM Subject: Re: Re: [313] innovator > > speaking of derrick co-producing records. . . recall about a month ago > when someone posted to this list that one nite when derrick may was > spinning at temple someone (i can't remember the name) came up and spit on > may's record and (i think) removed the tone arm from the record. i > later heard (although i can't attest to the source's validity) that this > person was jaded towards may because they produced music together back in > the day but may took all the credit and never gave any kickbacks. can > anyone confirm or deny this? > > > > On Fri, 29 Sep 2000 [EMAIL PROTECTED] wrote: > > > > > I think you have this confused with Changes of Life which was on the > > Tresor II comp...that is by jeff, Strings of Life by derrick was also > > co-produced by Carl Craig...a lot of the rythim is rythim stuff was > > derrick and someone else...like nude photo with thomas barnett and > > r-theme with d-wynn...any others...i know a lot of the songs on Relics > > were done by Derrick with Carl as well...but derrick definately deserves > > the credit for some of the most beautiful music ever made...listen to > > B12 and Stasis...and see where these guys got their influences from. > > > > minto > > > > > > > > - > > To unsubscribe, e-mail: [EMAIL PROTECTED] > > For additional commands, e-mail: [EMAIL PROTECTED] > > >
Re: Re: [313] innovator
speaking of derrick co-producing records. . . recall about a month ago when someone posted to this list that one nite when derrick may was spinning at temple someone (i can't remember the name) came up and spit on may's record and (i think) removed the tone arm from the record. i later heard (although i can't attest to the source's validity) that this person was jaded towards may because they produced music together back in the day but may took all the credit and never gave any kickbacks. can anyone confirm or deny this? On Fri, 29 Sep 2000 [EMAIL PROTECTED] wrote: > > I think you have this confused with Changes of Life which was on the > Tresor II comp...that is by jeff, Strings of Life by derrick was also > co-produced by Carl Craig...a lot of the rythim is rythim stuff was > derrick and someone else...like nude photo with thomas barnett and > r-theme with d-wynn...any others...i know a lot of the songs on Relics > were done by Derrick with Carl as well...but derrick definately deserves > the credit for some of the most beautiful music ever made...listen to > B12 and Stasis...and see where these guys got their influences from. > > minto > > > > - > To unsubscribe, e-mail: [EMAIL PROTECTED] > For additional commands, e-mail: [EMAIL PROTECTED] >
Re: Re: [313] innovator
yeah b12 n stasis were good, but sort of streamed on fom de georgio, i think. - Original Message - From: <[EMAIL PROTECTED]> To: "debonair" <[EMAIL PROTECTED]>; <313@hyperreal.org> Sent: Saturday, September 30, 2000 2:58 AM Subject: Re: Re: [313] innovator > > I think you have this confused with Changes of Life which was on the > Tresor II comp...that is by jeff, Strings of Life by derrick was also > co-produced by Carl Craig...a lot of the rythim is rythim stuff was > derrick and someone else...like nude photo with thomas barnett and > r-theme with d-wynn...any others...i know a lot of the songs on Relics > were done by Derrick with Carl as well...but derrick definately deserves > the credit for some of the most beautiful music ever made...listen to > B12 and Stasis...and see where these guys got their influences from. > > minto > > > > - > To unsubscribe, e-mail: [EMAIL PROTECTED] > For additional commands, e-mail: [EMAIL PROTECTED] > >
Re: Re: [313] innovator
I think you have this confused with Changes of Life which was on the Tresor II comp...that is by jeff, Strings of Life by derrick was also co-produced by Carl Craig...a lot of the rythim is rythim stuff was derrick and someone else...like nude photo with thomas barnett and r-theme with d-wynn...any others...i know a lot of the songs on Relics were done by Derrick with Carl as well...but derrick definately deserves the credit for some of the most beautiful music ever made...listen to B12 and Stasis...and see where these guys got their influences from. minto
RE: [313] Sex on the Beach 2000
Thanks for the review. I was skeptical when I saw it at first as well, but now I am DYING to hear the new stuff! Have a great weekend! Kyeo _ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com.
Re: [313] innovator
derrick did for sure...but i heard someone else was involved: was it martin bonds, or that guy barnett? - Original Message - From: "Kyle J Dupuy" <[EMAIL PROTECTED]> To: <313@hyperreal.org> Sent: Saturday, September 30, 2000 1:16 AM Subject: [313] innovator > > speaking of innovator. . . i have the tresor II compilation which has > 'strings of life' on it by mills. innovator has 'strings of life' on it > by derrick may. so. . .who actually prduced this track? > > > > > - > To unsubscribe, e-mail: [EMAIL PROTECTED] > For additional commands, e-mail: [EMAIL PROTECTED] > >
who are these people/robots
anyone have any info on 'olga+josef ' ep?.been listening to it, wondering if they have recorded any other material in same vein. out. bond.
innovator
speaking of innovator. . . i have the tresor II compilation which has 'strings of life' on it by mills. innovator has 'strings of life' on it by derrick may. so. . .who actually prduced this track?
i need to buy LP mailers!
Anyone out there can give me the 411 on buying LP Mailers? Web searches aren't turning up anything ideal. I have been shipping in used 10-LP boxes, but I need to ship a bunch, and I'd like to save on postage. kent williams -- [EMAIL PROTECTED] http://www.mp3.com/chaircrusher -- tunes http://www.live365.com/cgi-bin/directory.cgi?autostart=chaircrusher -- mix
Re: [313] Woooosh
Blasting away at my speakers straight outta the big O, almost D but D by heart that phenomenal ep on *bb by mr Curtincalled when worlds allign , that is one helluva trak maestro!! definate fave at the moment, as is trak #8 of the theo parrish Parallel universe cd...DAMN VINYL WE WANT VINYL(hinting away at mr. Hood as well, yup still at it... ; ( ) just felt that the time was right to end this working week 4 me with that remark,-- out 154
Re: [313] Woooosh
michael..oh michael, did i ever tell you, err, where my family came
from? NO , KIT, WHERE? we were from the d, michael! YOU'RE FROM
DENVER??? no michael, we came from
detroit!!O.K. LET'S GO DOWN TO THA BAY
AND LISTEN TO MY ALBUM ON YOUR STEREO,KIT!! {:-)}
- Original Message -
From: <[EMAIL PROTECTED]>
To: <313@hyperreal.org>
Sent: Saturday, September 30, 2000 12:23 AM
Subject: [313] Wsh
>
>
> tumtidatumtiditumtutututuh..whooohhhw
> "allright michael, it's weekend lets hang loose and do boose"
>let's go, KIT, can't wait!!
>
>
>
>
> 154
>
>
>
> -
> To unsubscribe, e-mail: [EMAIL PROTECTED]
> For additional commands, e-mail: [EMAIL PROTECTED]
>
Woooosh
tumtidatumtiditumtutututuh..whooohhhw "allright michael, it's weekend lets hang loose and do boose" let's go, KIT, can't wait!! 154
Re: [313] PS
Hey!!! Picked up the CIM comp album (Reverence err I forget) last night!!! Fantastic!! Isn't he on the list?? If you are on the list great job, I never seen any of your Focus 12"'s around here but email me privately and we can talk. I saw that Tom's name was on the back of the album. Ollie Tim Barr wrote: > It's getting close to Christmas and still no Tom Churchill album. > > Please Tom, u don't want to see a grown man cry do you? > > Love > > Tim > > - > To unsubscribe, e-mail: [EMAIL PROTECTED] > For additional commands, e-mail: [EMAIL PROTECTED]
313@hyperreal.org
to the liquor store kit: i need to buy a bottle of absolut. {:-)}
- Original Message -
From: <[EMAIL PROTECTED]>
To: <313@hyperreal.org>
Sent: Friday, September 29, 2000 10:19 PM
Subject: RE: [313] Swedish Techno&DH
>
>
> whooohw whooow, where do u want 2 go, michael?
>
> 154
>
>
>
> -
> To unsubscribe, e-mail: [EMAIL PROTECTED]
> For additional commands, e-mail: [EMAIL PROTECTED]
>
>
313@hyperreal.org
whooohw whooow, where do u want 2 go, michael? 154
313@hyperreal.org
this list has been rambling about the swedes for what seems like a week, and it took me to throw down a JOKE about David Hasselhoff From: "Jongsma, K.J." <[EMAIL PROTECTED]> To: "'Diana Potts'" <[EMAIL PROTECTED]>, [EMAIL PROTECTED], 313@hyperreal.org Subject: RE: [313] Swedish Techno Date: Fri, 29 Sep 2000 14:06:57 +0200 > >IMHO good music is the music which provokes other > musicians(positive or > >negative) > > > > > > > >154 > > Hmmm...this brings a whole new light to those David > Hasselhoff albums... David Hasselhoff? what ?!?! Hey guys i've got another great idea, lets start a mailinglist about Detroit-techno and call it 313? Who wants to join? [EMAIL PROTECTED] _ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com.
Re: [313] Swedish Techno
quick, get us out of here, KIT!!!(whooow whooow)
RE: [313] Swedish Techno
> >IMHO good music is the music which provokes other > musicians(positive or > >negative) > > > > > > > >154 > > Hmmm...this brings a whole new light to those David > Hasselhoff albums... David Hasselhoff? what ?!?! Hey guys i've got another great idea, lets start a mailinglist about Detroit-techno and call it 313? Who wants to join? [EMAIL PROTECTED]
Re: [313] Swedish Techno
david rox!!
Re: [313] Swedish Techno
From: [EMAIL PROTECTED] To: 313@hyperreal.org Subject: Re: [313] Swedish Techno Date: Fri, 29 Sep 2000 11:38:46 +0200 IMHO good music is the music which provokes other musicians(positive or negative) 154 Hmmm...this brings a whole new light to those David Hasselhoff albums... http://allmusic.com/cg/x.dll?p=amg&sql=B142889 d _ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com.
Re: [313] Swedish Techno
Agreed, there's a little too much nordic techno which is all production and no feeling (with the exception of the wonderful and highly funky Cari Lekebush)-although the production is impressively crisp I wonder does this tendency have something to do with the massive Swedish suicide rate? I have also read that the most common record found on the turntables of suicidal swedes is Abba's "dancing queen" (who collects this information?). This makes perfect sense to me. Seth Ive personally felt swedish techno was always missing something...I don't want to say the words 'soul' or 'funk' as thats a bit harsh, but something just a stop short or it. d _ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com.
Re: [313] Swedish Techno
Or maybe a more obvious link. http://www.sonox.com/main/electronica/style.box?showall=1&category=4 // janos JANOS A&R/ Editor Electronic Music [EMAIL PROTECTED] Phone+46.(0)8.729.88.07 Cellphone...+46.(0)708.40.50.77 Fax.+46.(0)8.598.200.64 AdressTomtebogatan 36 SE-100 31 Stockholm .Sweden Web.www.sonox.com
RE: [313]Super Collider
> > I appreciate what minimalists like Neil Landstrumm and Cristian > > Vogel are doing, but they aren't generally as urgently > propulsive as > > the recent Surgeon stuff (with the exception of "Gigolos Trapped in > > Retro Hell" from Landstrumm's _Pro Audio_, which is both perfectly > > titled and totally slamming -- well, that and the Super_Collider > > record, but that's something else altogether). > isn't Vogel one half of Super Collider ? or are there two > Vogel out there ? > Gwendal Super Collider are Cristian Vogel and Jamie Lidell, essential stuff btw... [EMAIL PROTECTED]
RE: [313] Swedish Techno
> I appreciate what minimalists like Neil Landstrumm and Cristian > Vogel are doing, but they aren't generally as urgently propulsive as > the recent Surgeon stuff (with the exception of "Gigolos Trapped in > Retro Hell" from Landstrumm's _Pro Audio_, which is both perfectly > titled and totally slamming -- well, that and the Super_Collider > record, but that's something else altogether). isn't Vogel one half of Super Collider ? or are there two Vogel out there ? Gwendal
Riou ? (was: [313] Swedish Techno)
I also like > the more ascetic sorts of minimalism (Plastikman, Riou, Landstrumm). so do I, Plastikman and Landstrumm I know, but Riou ? what label, where can I hear some of it ? Gwendal
Re: [313] Naked Musiic
> > Does anyone know the title of the Naked Music compilation? Bare Essentials Vol. 1 >I know there is > one but i can't find it in any recordstore over here. > Try clone, i've bought it there. gr. C.
Re: [313] Swedish Techno
qualification of music on an "objective level should be about functionality. how valid an argument is without talking about its content can b rated by looking at the reactions it provokes in the same discussion. and then u r just talking about the people having the conversation, the musicians. and that's not everybody, but anyone CAN B 1 !! just a thought 154
Re: [313] Swedish Techno
IMHO good music is the music which provokes other musicians(positive or negative) 154
Naked Musiic
Does anyone know the title of the Naked Music compilation? I know there is one but i can't find it in any recordstore over here. [EMAIL PROTECTED]
Fw: [313] Swedish Techno
Check this site out !! It's all there ! http://www.sonox.com/main/electronica/start.box > What's the best place to start for Swedish Techno. > A few CD's please. > thanks > > mediadrome > > - > To unsubscribe, e-mail: [EMAIL PROTECTED] > For additional commands, e-mail: [EMAIL PROTECTED] > > >
Re: [313] Swedish Techno
> I'm at least as interested as anyone else in understanding what makes > good music good, if only because that would make it easier for me to > make good music myself. I think it just comes down to figuring out what you like. ;>
Re: [313] Urban Slang in the UK this Thursday
oops, apologies for posting my review of last nights party twice. btw, does anyone have any Domingo Yu mix tapes or is there anything online? i'd never heard of him, let alone heard him play til yesterday. i'd def like to hear him play again. :) thanks rob From: "rob webb" <[EMAIL PROTECTED]> To: 313@hyperreal.org Subject: Re: [313] Urban Slang in the UK this Thursday Date: Fri, 29 Sep 2000 09:06:57 GMT Cim wrote: Last reminder that in London this Thursday will be The Flow with representatives of the new Submerge affiliated Urban Slang label. Mark Flash (Urban Slang/UR Assault Remix Squad, Detroit USA) Domingo Yu (Urban Slang/Mixx Flava, Detroit USA) Thursday 28/09/2000 : Fluid, 40 Charterhouse St. London EC1 if you weren't there last night you missed a wicked night. Luis and John from The Flow kicked things off. Lou warmed things up with r&b and following a mixer swap John played a really cool set crossing a whole bunch of different styles - booty/r&b/house. Domingo Yu is a seriously skilled dj no question. he followed John and after his first mix, dropping a booty/electro track straight into "Funky Guitar", Cim turned to me and said "this guy's tight". aptly put sir. scratching, doubles, the whole works, and he was really moving the crowd rather than just mixing for mixing's sake. again he played across a whole bunch of styles, from booty to techno to dub/reggae to latin. Mark Flash took the final 2 hours. again clearly a skilled dj, he played funky house for pretty much all his set. a few tricks, bit of scratching, but mostly blending seamlessly between the tracks. all in all it was a great night - excellent djs, incredible music, decent venue and a good crowd. it felt like a party rather than a club night. props to all the Flow crew, and of course to Cornelius, Mark and Domingo. if you're anywhere in the area or are willing to travel i'd def recommend heading down to the Bristol party tomorrow night (details copied below). Theres also another Urban Slang/The Flow party this Saturday in Bristol at: Saturday 30/09/2000 : Arc Bar, Broad St. Bristol BS1 9pm - 2am Free Entry/ Capacity 2-300. http://www.the-flow.co.uk enquiries: [EMAIL PROTECTED] rob _ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] _ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com.
Re: [313] Swedish Techno
Hey Ozymandias... > Do you want to move booties or do > you want to make people scratch their chins? The artists I've been > enjoying the most recently tend to fall squarely in the middle and be > very good at splitting the distance between the two. I'd like to get your current top ten list because that's what I'm going for, too. ;)
The Flow/Urban Slang last night
It was a great night. After some of the Flow DJ's laying down everything from r&b to Model 500, Domingo Yu from Urban Slang played some dope electro/bass then moved into almost dancehall and reggae areas. Tight scratches too. Mark Flash was pure house all the way. Pretty pumping stuff none of which I recognised but all of which was good. It was great to see some different guys over from Detroit - we just don't get enough over here in the UK. If you get a chance to see them play in Bristol this Saturday, take it. Details at: www.the-flow.co.uk || [CiM] || [EMAIL PROTECTED] || [EMAIL PROTECTED] _ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com.
Re: [313] Urban Slang in the UK this Thursday
Cim wrote: Last reminder that in London this Thursday will be The Flow with representatives of the new Submerge affiliated Urban Slang label. Mark Flash (Urban Slang/UR Assault Remix Squad, Detroit USA) Domingo Yu (Urban Slang/Mixx Flava, Detroit USA) Thursday 28/09/2000 : Fluid, 40 Charterhouse St. London EC1 if you weren't there last night you missed a wicked night. Luis and John from The Flow kicked things off. Lou warmed things up with r&b and following a mixer swap John played a really cool set crossing a whole bunch of different styles - booty/r&b/house. Domingo Yu is a seriously skilled dj no question. he followed John and after his first mix, dropping a booty/electro track straight into "Funky Guitar", Cim turned to me and said "this guy's tight". aptly put sir. scratching, doubles, the whole works, and he was really moving the crowd rather than just mixing for mixing's sake. again he played across a whole bunch of styles, from booty to techno to dub/reggae to latin. Mark Flash took the final 2 hours. again clearly a skilled dj, he played funky house for pretty much all his set. a few tricks, bit of scratching, but mostly blending seamlessly between the tracks. all in all it was a great night - excellent djs, incredible music, decent venue and a good crowd. it felt like a party rather than a club night. props to all the Flow crew, and of course to Cornelius, Mark and Domingo. if you're anywhere in the area or are willing to travel i'd def recommend heading down to the Bristol party tomorrow night (details copied below). Theres also another Urban Slang/The Flow party this Saturday in Bristol at: Saturday 30/09/2000 : Arc Bar, Broad St. Bristol BS1 9pm - 2am Free Entry/ Capacity 2-300. http://www.the-flow.co.uk enquiries: [EMAIL PROTECTED] rob _ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com.
Re: [313] Urban Slang in the UK this Thursday
Cim wrote: Last reminder that in London this Thursday will be The Flow with representatives of the new Submerge affiliated Urban Slang label. Mark Flash (Urban Slang/UR Assault Remix Squad, Detroit USA) Domingo Yu (Urban Slang/Mixx Flava, Detroit USA) Thursday 28/09/2000 : Fluid, 40 Charterhouse St. London EC1 if you weren't there last night you missed a wicked night. Luis and John from The Flow kicked things off. Lou warmed things up with r&b and following a mixer swap John played a really cool set crossing a whole bunch of different styles - booty/r&b/house. Domingo Yu is a seriously skilled dj no question. he followed John and after his first mix, dropping a booty/electro track straight into "Funky Guitar", Cim turned to me and said "this guy's tight". aptly put sir. scratching, doubles, the whole works, and he was really moving the crowd rather than just mixing for mixing's sake. again he played across a whole bunch of styles, from booty to techno to dub/reggae to latin. Mark Flash took the final 2 hours. again clearly a skilled dj, he played funky house for pretty much all his set. a few tricks, bit of scratching, but mostly blending seamlessly between the tracks. all in all it was a great night - excellent djs, incredible music, decent venue and a good crowd. it felt like a party rather than a club night. props to all the Flow crew, and of course to Cornelius, Mark and Domingo. if you're anywhere in the area or are willing to travel i'd def recommend heading down to the Bristol party tomorrow night (details copied below). Theres also another Urban Slang/The Flow party this Saturday in Bristol at: Saturday 30/09/2000 : Arc Bar, Broad St. Bristol BS1 9pm - 2am Free Entry/ Capacity 2-300. http://www.the-flow.co.uk enquiries: [EMAIL PROTECTED] rob _ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com.
Re: [313] Swedish Techno
I agree with you about 'De Sju Skenande Kompressorerna'. Stirring stuff. I think it is available on vinyl on "Vet Dom Som Fer Att" (Know They For Because). Happy Hunting, Nik _ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com.
Music
Josh Hill got the needle right in the groove, the laser right on the track, the tape right on the head, whatever, when he said this: "Perhaps that correlates to the environments." Music that you hear, everywhere, is a direct influence of the artist's environment. At least musically good stuff, in my opinion.. Of course *good* is very subjective but people who live in the D make the _best_ motorcitygroove. They define the genre, for better or for worse in some cases. ;) If you don't dig some of the 'best' Swedish techno, then you probably won't dig the vibe in the Sweden underground at all, because that is what is going on there now. If you don't dig the Detroit vibe, then you're going to have a crappy time here... I happen to like alot of styles of music that people diss on this list, and I have lived in the Detroit area all my life. I usually keep quiet about it, because people on this list are here for learning about Detroit techno. The fact that I happen to like different styles of music encourages me to travel to the source of that inspiration and learn. But that is just me? H
theorize
1nce again, a new theory."when I hear a track, and I like it, it MUST be good" 154
Re: [313] Optic Nerve
> "kjj" == Jongsma, K J <[EMAIL PROTECTED]> writes: kjj> TOmake things more complicated, Frank de Groot from 'The kjj> Operator' released tracks under the name of 'Optic Nerve' on kjj> Djax-up-beats. kjj> PS. I just tought of this new theory, it's called: "when in kjj> hear a track and i like it, it is a good track". :p I have a counter-theory: eyeballs are very techno. . . . the self-reflecting image of a narcotized mind . . . ozymandias G desiderata [EMAIL PROTECTED] desperate, deathless (415)558-9064http://www.aoaioxxysz.com/ ::AOAIOXXYSZ::
Re: [313] Optic Nerve
y, and pleez like my traks...then their good, right 913
Re: [313] Optic Nerve
"Jongsma, K.J." wrote: > > > PS. I just tought of this new theory, it's called: "when in hear a track and > i like it, it is a good track". > this sounds like a good theory! /> sakke -- work> http://www.teraflops.com/ personal> http://www.vip.fi/~sakke/
RE: [313] Optic Nerve
TOmake things more complicated, Frank de Groot from 'The Operator' released tracks under the name of 'Optic Nerve' on Djax-up-beats. PS. I just tought of this new theory, it's called: "when in hear a track and i like it, it is a good track". [EMAIL PROTECTED] > Now I'm reaching back into the empty dark brain matter here, > but I seem to > remember a guy who recorded as Optic Nerve, Optic Eye, and > Optica??? for > Planet Dog a good number of years back. I would assume this > was not Keith > Tucker. I can't seem to find any of those old CDs now > (probably sold them), > but I seem to remember the Optic Eye stuff was the only > stuff I really > liked, and seemed somewhat misfit for the label [read more > techno content]. > Of course, my tastes have developed quite a bit in the last > six or seven > years so I can't tell you whether or not any of that older > Planet Dog stuff > is worth listening to. The fact that I haven't pulled any of > those CDs out > in years, and may not have them any more might speak volumes. > > It's past my bedtime. > > Tristan > == > PHONOPSIA<[EMAIL PROTECTED]> > http://www.geocities.com/SunsetStrip/Lounge/5102 > "FrogboyMCI" on AOL Instant Messenger > > New Album, "Québécois", online now. > > -Original Message- > From: ozymandias G desiderata <[EMAIL PROTECTED]> > To: *** ASKEW <[EMAIL PROTECTED]> > Cc: 313@hyperreal.org <313@hyperreal.org> > Date: Friday, September 29, 2000 1:13 AM > Subject: Re: [313] Optic Nerve > > > > > >tf> I thought Optic Nerve was an alias for Keith Tucker (one of > >tf> the two original members of Aux 88). Anyways, Optic Nerve > >tf> 'Trilogy Wave 1' (DB4W-005) would have to be a lost Detroit > >tf> techno classic (circa 1995)... all three tracks are > killer Red > >tf> Planet style techno. The other Trilogy Wave parts are cool > >tf> too, but not quite as strong as Wave 1. > > > >My Optic Nerve records are at home, so you very well could > be right. I > >thought it was both of the folks in Aux 88, though (and I'm pretty > >sure "Optica Nerve" was some sort of weird Pow Wow typo). I used to > >play the hell out of that triple-pack. In fact, there was a > time when > >I bought every db release as soon as it came out, until I had, um, > >enough. I like techno-bass, but Aux 88 just kept putting out the > >records! > > > >I agree, the first is best, but Trilogy Wave is one of > those releases > >that's never gotten its due. I don't know about "lost" > though. I have > >a hard time seeing a record I personally own as lost. :) > > > > . . . the self-reflecting image of a narcotized mind . . . > >ozymandias G desiderata [EMAIL PROTECTED] > desperate, deathless > >(415)558-9064http://www.aoaioxxysz.com/ > ::AOAIOXXYSZ:: > > > > > > > - > >To unsubscribe, e-mail: [EMAIL PROTECTED] > >For additional commands, e-mail: [EMAIL PROTECTED] > > > _ > Do You Yahoo!? > Get your free @yahoo.com address at http://mail.yahoo.com > > > - > To unsubscribe, e-mail: [EMAIL PROTECTED] > For additional commands, e-mail: [EMAIL PROTECTED] >
Re: [313] some toneshifting tracks...
darw_n wrote: > > > But there is method behind my generalization and persuit of this effect, as > I will state again, I feel that it is the entire premise and drive behind > percussive techno (NOT jazzy techno). The reason percussive techno exists > at such a powerful and popular level is that this effect is occuring with > most people, whether realized or not. And I would hate to see percussive > techno go down in the books as merely a interesting yet unimportant music > and be done. I am concerned with the "why" and "how" in this new music, and > the toneshift effect is, IMHO, the main reason behind it... the "toneshift" discussed here sounds _to me_ much like a side effect of some effect, like phasing, or delay that shift's the pitch upwars or downwards. also, this kind of effect can be achieved by time-stretching sounds, so that they will be faster (or slower) than they used to be without changing the pitch. ring modulation is also a nice way to achieve this kind of sounds. or chorus or.. /> sakke -- work> http://www.teraflops.com/ personal> http://www.vip.fi/~sakke/
Re: [313] Optic Nerve
Now I'm reaching back into the empty dark brain matter here, but I seem to remember a guy who recorded as Optic Nerve, Optic Eye, and Optica??? for Planet Dog a good number of years back. I would assume this was not Keith Tucker. I can't seem to find any of those old CDs now (probably sold them), but I seem to remember the Optic Eye stuff was the only stuff I really liked, and seemed somewhat misfit for the label [read more techno content]. Of course, my tastes have developed quite a bit in the last six or seven years so I can't tell you whether or not any of that older Planet Dog stuff is worth listening to. The fact that I haven't pulled any of those CDs out in years, and may not have them any more might speak volumes. It's past my bedtime. Tristan == PHONOPSIA<[EMAIL PROTECTED]> http://www.geocities.com/SunsetStrip/Lounge/5102 "FrogboyMCI" on AOL Instant Messenger New Album, "Québécois", online now. -Original Message- From: ozymandias G desiderata <[EMAIL PROTECTED]> To: *** ASKEW <[EMAIL PROTECTED]> Cc: 313@hyperreal.org <313@hyperreal.org> Date: Friday, September 29, 2000 1:13 AM Subject: Re: [313] Optic Nerve > >tf> I thought Optic Nerve was an alias for Keith Tucker (one of >tf> the two original members of Aux 88). Anyways, Optic Nerve >tf> 'Trilogy Wave 1' (DB4W-005) would have to be a lost Detroit >tf> techno classic (circa 1995)... all three tracks are killer Red >tf> Planet style techno. The other Trilogy Wave parts are cool >tf> too, but not quite as strong as Wave 1. > >My Optic Nerve records are at home, so you very well could be right. I >thought it was both of the folks in Aux 88, though (and I'm pretty >sure "Optica Nerve" was some sort of weird Pow Wow typo). I used to >play the hell out of that triple-pack. In fact, there was a time when >I bought every db release as soon as it came out, until I had, um, >enough. I like techno-bass, but Aux 88 just kept putting out the >records! > >I agree, the first is best, but Trilogy Wave is one of those releases >that's never gotten its due. I don't know about "lost" though. I have >a hard time seeing a record I personally own as lost. :) > > . . . the self-reflecting image of a narcotized mind . . . >ozymandias G desiderata [EMAIL PROTECTED] desperate, deathless >(415)558-9064http://www.aoaioxxysz.com/ ::AOAIOXXYSZ:: > > >- >To unsubscribe, e-mail: [EMAIL PROTECTED] >For additional commands, e-mail: [EMAIL PROTECTED] _ Do You Yahoo!? Get your free @yahoo.com address at http://mail.yahoo.com
RE: [313] Absract Fusion 2 comp.
Keep an eye out for the next Deep4Life compilation named "Deep South Experience" which will feature Ewan and also Justin Zerbst and another local lad whom I can't recall at the moment. Will undoubtably be top class stuff, as always from D4L. Respect JasonB > -- > From: *** ASKEW[SMTP:[EMAIL PROTECTED] > Sent: Friday, September 29, 2000 1:08 PM > To: 313@hyperreal.org > Subject: [313] Absract Fusion 2 comp. > > Just picked up the new Absract Fusion 2 compilation on Track Mode/Music > Is. > I've only had a quick flick through the 2LP, but it sounds pretty damn > good... and features an impressive line-up. > > Abstract Fusion 2 (2LP) > (Track Mode 023/Music Is 006) > a1. Glenn Underground - 'Chicago Heights' > a2. Odara Productions - 'Shine (Dub mix)' > b1. Larry Heard - 'First Call in the Morning' > b2. Ewan Jansen - 'Busted' > c1. Rick Wade - The Megamix > c2. Theo Parrish - 'Future Primitive' > d1. Rick the Godson - 'City Bar Groove' > d2. Norma Jean Bell - 'Fabulous' > > Make sure you check out the talent of Ewan Jansen, Odara and the Red Ember > > crew (straight outta Perth). These guys are producing some damn fine house > > music... keep your eyes peeled for more vinyl releases in the near future. > > Damn* Ewan... 'Busted' wasn't on the demo you sent me! > You holding out on me? :) And what's the scoop on Odara? > > > cheers > ~Askew > > _ > Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. > > Share information about yourself, create your own public profile at > http://profiles.msn.com. > > > - > To unsubscribe, e-mail: [EMAIL PROTECTED] > For additional commands, e-mail: [EMAIL PROTECTED] >
Re: [313] Optic Nerve
tf> I thought Optic Nerve was an alias for Keith Tucker (one of tf> the two original members of Aux 88). Anyways, Optic Nerve tf> 'Trilogy Wave 1' (DB4W-005) would have to be a lost Detroit tf> techno classic (circa 1995)... all three tracks are killer Red tf> Planet style techno. The other Trilogy Wave parts are cool tf> too, but not quite as strong as Wave 1. My Optic Nerve records are at home, so you very well could be right. I thought it was both of the folks in Aux 88, though (and I'm pretty sure "Optica Nerve" was some sort of weird Pow Wow typo). I used to play the hell out of that triple-pack. In fact, there was a time when I bought every db release as soon as it came out, until I had, um, enough. I like techno-bass, but Aux 88 just kept putting out the records! I agree, the first is best, but Trilogy Wave is one of those releases that's never gotten its due. I don't know about "lost" though. I have a hard time seeing a record I personally own as lost. :) . . . the self-reflecting image of a narcotized mind . . . ozymandias G desiderata [EMAIL PROTECTED] desperate, deathless (415)558-9064http://www.aoaioxxysz.com/ ::AOAIOXXYSZ::
Absract Fusion 2 comp.
Just picked up the new Absract Fusion 2 compilation on Track Mode/Music Is. I've only had a quick flick through the 2LP, but it sounds pretty damn good... and features an impressive line-up. Abstract Fusion 2 (2LP) (Track Mode 023/Music Is 006) a1. Glenn Underground - 'Chicago Heights' a2. Odara Productions - 'Shine (Dub mix)' b1. Larry Heard - 'First Call in the Morning' b2. Ewan Jansen - 'Busted' c1. Rick Wade - The Megamix c2. Theo Parrish - 'Future Primitive' d1. Rick the Godson - 'City Bar Groove' d2. Norma Jean Bell - 'Fabulous' Make sure you check out the talent of Ewan Jansen, Odara and the Red Ember crew (straight outta Perth). These guys are producing some damn fine house music... keep your eyes peeled for more vinyl releases in the near future. Damn* Ewan... 'Busted' wasn't on the demo you sent me! You holding out on me? :) And what's the scoop on Odara? cheers ~Askew _ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com.
Optic Nerve
ozymandias wrote: On another note, I've recently been having a torrid little affair with my old _Deep Detroit_ compilations. They're so good to me! It's a shame Pow Wow never released more than the two of them, as they're chock full of the good stuff -- Infiniti, Shake, Eddie "Flashin'" Fowlkes -- you know the score. They were how I discovered Optica Nerve, who are still my favorite db / 430 West artists (so it's an alias for Aux 88) I thought Optic Nerve was an alias for Keith Tucker (one of the two original members of Aux 88). Anyways, Optic Nerve 'Trilogy Wave 1' (DB4W-005) would have to be a lost Detroit techno classic (circa 1995)... all three tracks are killer Red Planet style techno. The other Trilogy Wave parts are cool too, but not quite as strong as Wave 1. cheers ~Askew _ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com.
(313) the REAL Innovator
here's a good one for the 313 FAQ which will be released around the same time as Derrick May's next album. take your time matt :P -- Forwarded message -- Date: Thu, 11 Feb 1999 23:51:30 -0800 From: rbc3 <[EMAIL PROTECTED]> To: detroit techno <313@hyperreal.org> Subject: (313) the REAL Innovator Someone asked this long ago. I've since forgotten and I think nobody answered. The question had to do with the track listing on Innovator. The track listing on the cover of the Transmat (US domestic) release is WRONG! I decided since I was in such a Detroit listening mood, to go through it and figure it out. So here are my findings. Derrick May - Innovator (Transmat US) CD1 1) "rest" 1:08 2) strings of the strings of life 8:22 3) another kaos beyond kaos 0:50 4) freestyle 4:30 5) beyond kaos1:31 6) the dance 7:13 7) a little spaced out0:57 8) daymares 0:33 9) it is what it is 6:27 10) ? (chords from it is...) 0:09 11) ? (another synth chord)0:09 12) beyond the dance (cult mix)6:59 13) original feel sureal 0:54 14) ? (beyond a synth chord) 0:19 r-theme6:21 CD2 1) to be or not to be 5:48 2) icon (montage mix) 5:49 3) phantom1:46 4) kaotic harmony 6:33 5) more phantom 1:11 6) salsa life 5:27 7) nude photo 5:39 8) the beginning (pt. 1) 5:25 9) the beginning (pt. 2) 3:30 10) another relic from the relics 1:01 11) drama 4:29 12) "strings" - the original mix 6:04 13) wiggin - juan atkins mix 6:14 The naming of The Beginning as separate parts is due to the fact that there is a CD track change in the middle of the song. The song has no audible break in it however. The three unnamed tracks have question marks which are simply synth sounds. I also happen to have the R&S 5x12" LP box set of Innovator. So I thought I'd do the proper trainspotter thing here and list differences. One thing before I begin. Unlike the US Transmat release all the track names and ordering is correct on the R$S LP comp. The only mistake is track C2, which is listed as Daymares, It Is What It Is. This is simply It Is What It Is and has no Daymares with it. Firstly there are several tracks on both comps which are the same but named differently. I'll list these first. US CD track# name on R&S box set --- CD1 track 5B2) A Rest / Beyond Kaos CD1 track 13 D2) Feel Surreal Ends The Feel Surreal CD2 track 5G2) Phantom Lurks CD2 track 10 I1) A Relic Long Ago CD2 track 12 J1) Strings Of Life Tracks on the R&S LP comp, which aren't on the US Transmat CD: C2) Some More Spaced Out E1) Emanon Begins E2) Sinister E3) The End I3) Emanon Ends I4) Winter On The Blvd J2) Dreams Of Dreamers Tracks on the US Transmat CD, which aren't on the R&S LP comp: CD1 track 1) "rest" CD1 track 8) daymares That's about all the info I have. I could get really sick and find out which original releases the tracks on both comps come from. I don't really have the time though. I guess my trainspotting has run out for the day. I don't have the R&S CD nor the Sony Japan release, so if anyone has them and finds differences, I'd like to know. -rbc3
Re: Intention (was Re: some toneshifting tracks...)
> "im" == [EMAIL PROTECTED] com <[EMAIL PROTECTED]> writes: im> "dn" == darw_n <[EMAIL PROTECTED]> writes: dn> I am willing to bet that when Beyer makes a track he is more dn> listening than creating, he is toneshifting his own tracks dn> while in the studio... >> I think most of them have had to think pretty hard about what >> they're doing, even if they can't (or won't) articulate the >> results of that process. If you're not following a rote formula >> (and sometimes even if you are, if you're doing it well), >> making music is really hard. You _have_ to think about what >> you're doing, even if it's not on some highfalutin theoretical >> level. im> True, but I believe there are a lot of producers out there im> (experienced and not so experienced) who are operating on gut im> feeling and instinct. There's a certain leap of faith and im> logic that allows uninformed but passionate people to make im> strong art (Basquiat?). It's the old "if it kick, it kick" im> instinct. You cannot deny or minimize the desire of 313 im> creators to make sh*t happen on the floor (Detroit Grand im> Pubahs?). Hell no, and I certainly wouldn't want to try! I'm not going to argue that techno as a genre is filled with self- consciously avant-garde, Nietzschean "creators" who must consider the implications of all their actions before they cast the first sequence upon the digital void. As a rule, I think we're predisposed to sitting in front of our computers and twiddling knobs and seeing what happens if we crank up the compressor a little bit. Maybe we drool sometimes. Most of the time we swear. In my admittedly limited experience, about 9/10s of making techno involves twiddling and tweaking and about 1/10 of the process is coming up with the original idea for a track. It's also undeniable that many techno creators are almost painfully loyal to their formulae -- once they get a sound they like, they don't want to mess with it. At the same time, the only way the music can progress is if artists sit down periodically and say, "What's working for me in these tracks? What's not? Why did everyone like that one track so much? Why do I keep making tracks that sound like this? What am I trying to do here, really?" Maybe they aren't articulating it that cleanly, but that's the process that's going on under the skin. And I would contend that the more minimal the artist, the more they think about this. I would argue, in fact, that minimal music will only work if the artist is thinking _especially_ hard about what they're doing. There's not enough there there to obfuscate your intentions. To recast what I'm saying in terms resembling darwin's original argument, I think most of us who have been around for a while are aware that "toneshifting" exists. I know that most of my peak moments at raves were centered around hearing things in the music that aren't there (in fact, the first time I noticed that effect was at a Psychic TV show, long before I knowingly heard any techno). It's pretty hard for artists consciously to put that stuff in there (to do so they'd have to know how all our brains work, which is knowledge I'm unwilling to credit them with). But at the same time, if you've worked with loops for a while, you know how to use repetition to evoke those kinds of effects, and I'd at least suspect the people who make the most loop-happy tracks are trying, on a certain level, to mess with their listeners' heads in exactly that way. >> Finally, I don't think I've _ever_ met an artist who can, >> godlike, take an idea and turn it into a finished work without >> the idea being destructively altered at least a little along >> the way. Stockhausen, maybe, but Stockhausen is a genius and >> comes from a completely different tradition than anyone you and >> I are likely to hear on a pair of 1200s / behind a 909. im> I think you might be giving KS a little too much credit im> (certainly "godlike" is a little strong). I imagine that, im> when Stockhausen was in the thick of creating, he was im> exercising a passion that obfuscated his ability to understand im> how listeners might react to his music. I'm not sure. If you believe what he says, works like _Hymnen_ were fully scored before he ever started splicing tape (and if you want to see something totally wild, get your hands on a Stockhausen practice score someday). He may not have had any idea of how it would affect his audience, but I do think he had a clear conception of what the work would sound like before he even started the formal compositional process, much less was able to hear what he was doing. Of course, he could be lying (and cynical me is predisposed to thinking that he's not averse to fudging the truth a little bit). I will say that reading the program notes while listening to one of of Stockhausen's more complex works is an incredibly enlighteni
Intention (was Re: some toneshifting tracks...)
"dn" == darw_n <[EMAIL PROTECTED]> writes: > dn> I am willing to bet that > dn> when Beyer makes a track he is more listening than creating, > dn> he is toneshifting his own tracks while in the studio... on 9/28/00 8:59 PM, ozymandias G desiderata at [EMAIL PROTECTED] wrote: > I think most of them have had to think pretty hard about > what they're doing, even if they can't (or won't) articulate the > results of that process. If you're not following a rote formula (and > sometimes even if you are, if you're doing it well), making music is > really hard. You _have_ to think about what you're doing, even if it's > not on some highfalutin theoretical level. True, but I believe there are a lot of producers out there (experienced and not so experienced) who are operating on gut feeling and instinct. There's a certain leap of faith and logic that allows uninformed but passionate people to make strong art (Basquiat?). It's the old "if it kick, it kick" instinct. You cannot deny or minimize the desire of 313 creators to make sh*t happen on the floor (Detroit Grand Pubahs?). > Finally, I don't think I've _ever_ met an artist who can, godlike, > take an idea and turn it into a finished work without the idea being > destructively altered at least a little along the way. Stockhausen, > maybe, but Stockhausen is a genius and comes from a completely > different tradition than anyone you and I are likely to hear on a pair > of 1200s / behind a 909. I think you might be giving KS a little too much credit (certainly "godlike" is a little strong). I imagine that, when Stockhausen was in the thick of creating, he was exercising a passion that obfuscated his ability to understand how listeners might react to his music. Hindsight alone tells us what the transforming and significant artistic statements are. Everything else is "stuff I'm digging right now..." -- There4IM
Ozymandias/Forrest
A heartfelt "thank you" and "welcome back" to ozy, who single-handedly increased the signal-to-noise on 313 tenfold in one day. I expect we'll see a few digest unsubscribes soon. Now to consider and add to the discussion... -- There4IM
Re: [313] australia- dates 313 peeps
From: Nathan <[EMAIL PROTECTED]> >i know that recloose & common factor are on the same bill in adelaide, >but can't remember where it was. strange days 3 @ cargo ... 21st of October... with umek and valentino unfortunately larry heard is not coming to australia =( tan... -- graham [tan] wilson - i don't know why ... but i'm feelin' so sad [EMAIL PROTECTED] [EMAIL PROTECTED] http://fnord.fishwerx.org/tan
Re: [313] some toneshifting tracks...
Last one from me today, I promise... > "dn" == darw_n <[EMAIL PROTECTED]> writes: dn> Exactly, thus making it very unique music in the modern art dn> world. The producers aren't aware (well, usually not, I dn> believe Oliver Ho actually says he tries to create toneshifts dn> audibly, assuming that was really him I was talking to!) of dn> this effect because no one has really yet tried to examine and dn> define this art on a more scientific level, the producers are dn> generally sitting around making something they think sounds dn> good, often never becoming intellectually involved in their dn> own art, for good or for bad. Well, _why_ does it sound good, dn> and _why_ is utter repeatition often tear jerking to some? dn> Also, the basic appeal I said above resides in the listener dn> and the artist as he is being the listener too, NOT a creater dn> in it's definition being one who is in total control with a dn> completed image as to his/her goal. I am willing to bet that dn> when Beyer makes a track he is more listening than creating, dn> he is toneshifting his own tracks while in the studio... I wouldn't be so sure. Considering that the foundations of the modern musical avant-garde were built on various composers' inquiries into the effects of repetition and minimalism (Steve Reich, Iannis Xennakis, Karlheinz Stockhausen, Terry Riley, LaMonte Young, Philip Glass), and given that most of the folks who've been making techno for a few years have probably thought pretty hard about what they're doing (you have to, to stay interested enough to keep doing it), I don't think it's at all safe to assume that the producers are ignorant of the possible effects of their music. In underground dance music, where a very large percentage of the producers are also DJs, this is doubly true. If I understand what you mean by "toneshifting", DJs like Claude Young have purposefully been using flanging, phasing, EQ tricks, and whatnot to shape and bring out the "hidden music" within minimal techno for years. Art is not science, and while most arts have at least a partially scientific / mathematical foundation, none of them can be _defined_ scientifically. Even the second- and third-order effects generally can't be defined, and I don't think it will be possible to do so until we have a complete theory of cognitive science and psychology, which is still a long ways off. In addition, to state "the producers are generally sitting around making something they think sounds good, often never becoming intellectually involved in their own art" sounds pretty arrogant from where I sit. I think most of them have had to think pretty hard about what they're doing, even if they can't (or won't) articulate the results of that process. If you're not following a rote formula (and sometimes even if you are, if you're doing it well), making music is really hard. You _have_ to think about what you're doing, even if it's not on some highfalutin theoretical level. Finally, I don't think I've _ever_ met an artist who can, godlike, take an idea and turn it into a finished work without the idea being destructively altered at least a little along the way. Stockhausen, maybe, but Stockhausen is a genius and comes from a completely different tradition than anyone you and I are likely to hear on a pair of 1200s / behind a 909. Making art puts you in this incredibly bizarre position, where the act of creation alters the idea you're attempting to make manifest. Creators are never completely in control. Forrest . . . the self-reflecting image of a narcotized mind . . . ozymandias G desiderata [EMAIL PROTECTED] desperate, deathless (415)558-9064http://www.aoaioxxysz.com/ ::AOAIOXXYSZ::
Re: [313] Media, Techno & 313 (Was: Swedish Techno)
>> This is off tangent but > >But maybe part of that stigma comes from how ubiquitous UK music/dance >mags are worldwide. Q, Mixmag and the like can be found in all corners of >the world. Maybe they don't (or shouldn't) set the standards for music >journalism, but they do such a good job w/distribution it can give people >that impression. Which is equally bad, IMO. I agree, it does and UK writers command greater credibility than others in Australia as they are considered more knowledgeable - it¹s a cultural cringe thing we have. With a UK accent and a visa, you're made (though the money is still bad!). I just ask people to be relativistic and look at the wider picture, that's all. The main problem in Australia is the spectre of amateurism. To make an income out of writing you have to really take on a lot of work and if you do that you can't sustain quality. Ideally I would like to have time to revise articles and spend more time tweaking drafts and plotting the angle but you can't. There are no sub-editors in street press either and that is the hardest part, creating that distance whereby you can proof your own work in a short amount of time. The thing is the Australian street press covers a wider range of artists generally - like the Space DJz have had several features here but never a feature in a UK magazine, or so they told me in Nov/Dec. A lot of local acts here still feel they get a bad go and sometimes they do but on the whole it's more fluid. My point: media culture varies from country to country so dismissing all writers/magazines is kinda unfair. >Writers who actually do the stories and are committed to things good and >pure is one thing, but the British dance music press/editors strive to >play Popularity Contest with what they choose to go into magazines. Just >look at how Musik & Jockey Slut devolved over the past 2-3 years. It's >all about clubbing, Ibiza, and progressive trance now, and it's really >sad. I know, I get them all for work. I read Mixmag (aka the Judge Jules fanzine) in 1/2 hour max, maybe 15 minutes. It has no substance. In Australia these cycles are less pronounced, in fact I don't think we have them, Australians are more loyal overall. Interestingly, several big names in the UK won't talk to Muzik ever again - including Paul Oakenfold who has a problem with the gossip element. He says he knows about five others who are boycotting it and I assume that they are British. That is an odd situation I think you will agree - when the UK DJs who would appear to be the press darlings boycott it! >Even though I admire DJ magazine's effort to bring UK techno back into the >spotlight, DJ Mag did a special on the Australian dance scene and actually got people's genders wrong. You would think they would ask Australian writers to contribute but, no. We had a laugh reading it. Beware: any special on Australian dance music in a UK magazine that makes out that Sydney is the club capital is spurious. >The most recent article is the 2nd September issue of DJ Magazine (I >think). I don't think DJ is telling the whole story but when I get the magazine I will be able to comment on this. I assume the writer comes from the same background as the guys he is interviewing so he is not gonna draw out the socio-cultural politics/dynamics of it. I don't think those British DJs can deny that UR/Mills/Hood wasn't a salient influence, Reich-ian/industrial roots aside. Maybe they can say that the likes of KMS and Transmat weren't a strong influence on their harder sound but they can't deny the minimal sides of Detroit left an impact on them. I think there is a certain amount of revisionism going on, they are downplaying that influence, consciously or subconsciously. It's like how many kids now say they grew up loving Kraftwerk. Well I'm an 80s kid and back then very, very few kids were into them. Only The Model charted here. What has happened is these Kraftwerk kids have discovered the music further down the track as they have read their heroes citing them. It's become chic to cite Kraftwerk. These same kids were probably into Def Leppard - I think Alan Oldham joked about this a while back. I find that many British DJs say, yes Detroit was an influence but not now, the music is international now, etc, etc and that is a very UK thing to do. There is a bio on Ruskin on the Tresor site in which his discovery of Detroit techno is mentioned and most techno DJs¹ bios make some reference to it. Ho's line is very different - he openly acknowledges the likes of Mills as influences, but not Detroit as such. He sees techno as having its origins in tribal rhythms, so his understanding of it is inherently different. I actually respect where Ho is coming from. At any rate, with the success of Jaguar suddenly everyone is giving Detroit props again - even Oakenfold who tried to license Jaguar for Perfecto. >And maybe Laurent Garnier & DJ Q draw their influences from >elsewhere too. But what all this is not
Re: [313] Swedish Techno
Nick Well go as far to say it's close to trance... How so? Everything is three steps off from one style or the other. I know Julesy was playing "The Mole" a few months back... Lots of UK trance dj's play that kinda stuff... And they are also banging out Jaguar...guilt by association? The UK trance DJs are playing these tracks in their sets because the "trance" stuff coming out now has run it's course and people are looking for something with more guts. It's not that this music is closer to trance (albeit, some early Hybrid tracks approached it back in '95 but so did loads of techno) it's just that the DJs ears are looking for something with more than just a bunch of drum rolls. Just because Jules plays "The Mole" doesn't make it trance. Hell, if he started dropping Inner City "Good Life" would that make it trance as well? Fred From: Nick Walsh <[EMAIL PROTECTED]> To: 313@hyperreal.org Subject: Re: [313] Swedish Techno Date: Thu, 28 Sep 2000 09:45:35 -0700 (PDT) Well go as far to say it's close to trance... I know Julesy was playing "The Mole" a few months back... Lots of UK trance dj's play that kinda stuff... Gimme the Detroit Escalator Co anyday... Dj Pacific:) --- Diana Potts <[EMAIL PROTECTED]> wrote: > > Ive personally felt swedish techno was always > missing something...I don't > want to say the words 'soul' or 'funk' as thats a > bit harsh, but something > just a stop short or it. > > d > > > > >From: [EMAIL PROTECTED] > >To: [EMAIL PROTECTED], > [EMAIL PROTECTED] > >CC: 313@hyperreal.org > >Subject: Re: [313] Swedish Techno > >Date: Thu, 28 Sep 2000 12:16:58 EDT > > > >What's the best place to start for Swedish Techno. > >A few CD's please. > >thanks > > > >mediadrome > > > >- > >To unsubscribe, e-mail: > [EMAIL PROTECTED] > >For additional commands, e-mail: > [EMAIL PROTECTED] > > > > _ > Get Your Private, Free E-mail from MSN Hotmail at > http://www.hotmail.com. > > Share information about yourself, create your own > public profile at > http://profiles.msn.com. > > > - > To unsubscribe, e-mail: > [EMAIL PROTECTED] > For additional commands, e-mail: > [EMAIL PROTECTED] > __ Do You Yahoo!? Yahoo! Photos - 35mm Quality Prints, Now Get 15 Free! http://photos.yahoo.com/ - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] _ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com.
Re: [313] Swedish Techno
> "dn" == darw_n <[EMAIL PROTECTED]> writes: dn> Anyways, there is a wrench in my gears in that ALOT of people dn> like music for many different reasons, and they are often not dn> truthful about it. One of my huge stumbling blocks in my dn> research is this need to like something simply because its dn> proper or because it was created by someone historical, or dn> even worse, simply because it is cutting edge. This makes my dn> work very difficult for it illiminates any possibilty of dn> knowing what they _really_ like to hear... Good luck separating music from its social context. Sometimes I will be absolutely raving fanatical about a new record because it's by someone whose previous records I've loved, only to realize a few months later that what was happening was that I was happy to have a new record by producer X more than actually liking that particular record (most recent egregious example: last year's incredibly tedious Underworld album). I think it is a very odd duck indeed who never does this. By contrast, I'm guilty of ignoring an artist's work because I haven't liked what they were making before and / or the scene of which they're a part, only to realize later that I was being a close-minded idiot. Again, I think most of us do this from time to time. dn> The other thing is that I am not attempting to create a MMTI dn> type test, in which you answer 25 vquestion, and wham, I can dn> tell you if you'll like Paper Records or Code Red, no. I am dn> simply trying to figure out a general pattern of typing, with dn> room for all the "middle of the road" types. dn> I hate to think that we like what we like "just because", I am dn> after a clearer vision of "why"... Creativity and our individual responses to it are probably the most subjective things in life. I don't think we like things "just because", but I do think that the "real" reasons why _Live at the Liquid Room_ ripped my head off the first time I heard it, say, or why I damn near started crying tears of joy the first time I heard Daft Punk play live would be better explained within a therapeutic / historical context than through any sort of reductive model or theory. A useful example is those services on sites like amazon.com that try to recommend music to you based on what you've already bought or claimed to like. It's like shaking a Magic 8-Ball -- you never know what's coming up next. I'm at least as interested as anyone else in understanding what makes good music good, if only because that would make it easier for me to make good music myself. But figuring out psychological models that predispose certain people to like certain sorts of art, well, that doesn't seem so fertile a field for exploration. In any case, good luck. Forrest . . . the self-reflecting image of a narcotized mind . . . ozymandias G desiderata [EMAIL PROTECTED] desperate, deathless (415)558-9064http://www.aoaioxxysz.com/ ::AOAIOXXYSZ::
