Re: (313) magic trax/ Fowlkes
- Original Message - From: "J. T." <[EMAIL PROTECTED]> To: <313@hyperreal.org> Sent: Sunday, November 03, 2002 3:41 AM Subject: Re: (313) magic trax/ Fowlkes > > > There is one Fowlkes track on the Juan Atkins bootleg "Magic Tracks". > >It's > > > called "Deepcover" and it's beautiful. Very fragile melodious track. > >That > > > must be his best track for me... Now, has this track ever been released > >on > > > any other label? > > > >I concur. Although I've also always loved the Infiniti track on there the > >best (except for that rediculously low volume). I'd love to know if any of > >that material was released elsewhere, particularly with a better pressing. > > which infiniti track -- the promo version of magic trax, and the cd version, > have 8 tracks, 2 by infiniti...anyways both are on "the infiniti collection" > but that's cd only i think. It's called 'Flash Flood'? It's the last track on the 2nd side on my copy (which is the promo/bootleg or whatever). Another listmember mentoined it was re-released on Tresor, so I just checked and found both the Ron Cook you wanted and this Infiniti track on Tresor 36 'Magic Tracks', and the Infiniti track is on the collection, as you said, and it is on vinyl too (Tresor 48). Not sure if it would be in stock, but it is in the Tresor store. Tristan = Text/Mixes: http://phonopsia.tripod.com Music: http://www.mp313.com Contact: [EMAIL PROTECTED] New Mix in mp3, 'Live in Iowa City' available for a short time from http://phonopsia.isoprax.com
Re: (313) sean deason loops
It's no surprise that the very first person to check in with a remix of "The Shit" is none other than Mr. Christian Bloch (this guy is prolific!). Just gave it a listen and I'm very excited about it! He should be posting it to his site soon. If youre at all familiar with his tracks then you know to expect nothing but the finest quality techno this side of Munich. I'm expecting to have more mixes by other list members shortly. I dont know if a "contest" is the right way to go, but I'm thinking that maybe a remix compilation could happen donw the line with this. sean deason . - Original Message - From: "Tom Serna" <[EMAIL PROTECTED]> To: <313@hyperreal.org> Sent: Sunday, November 03, 2002 11:28 AM Subject: (313) sean deason loops > wow! > I knew this track from an old dave angel essential mix > but never knew the name of it! imagine my surprise > when I listened to the main melody for the first time! > anyway, I've told a couple of local bedroom producers > about it, including a guy who is about to be released > on justin berkovi's label. we should really make a > competition or something. > > http://careers.yahoo.com.au - Yahoo! Careers > - 1,000's of jobs waiting online for you! >
Re: (313) magic trax/ Fowlkes
It's called 'Flash Flood'? It's the last track on the 2nd side on my copy (which is the promo/bootleg or whatever). Another listmember mentoined it was re-released on Tresor, so I just checked and found both the Ron Cook you wanted and this Infiniti track on Tresor 36 'Magic Tracks', and the Infiniti but hey uh wasnt it magic trax we were talking about in the first place? i'm suddenly very confused...magic trax (the promo one with ron) is 8 tracks on 12" and it is one of the quietest records i own which is why i'm looking for it somewhere besides magic trax. i dunno if "ffwd" is on there or not but i'm also really after ron's release on metroplex...i forget what number it was, in the teens somewhere...if anybody could comment on it or give more info i'd sure appreciate it! jt _ Choose an Internet access plan right for you -- try MSN! http://resourcecenter.msn.com/access/plans/default.asp
(313) DJT1000 @ Tivoli, Utrecht, Netherlands
He rocked! And what a star... The most hilarious part probably was him signing the belly buttons of these 2 girls... :-) Made me smile all weekend! Back to my Monday morning routine COFFEE! Out W
Re: (313) Whats on in London 16/11
Slices # 3 with two 313 members, Ken Odeluga and Jonny McIntosh, plus a very special guest. more info to follow but see www.bleep43.com for the flyer. - Original Message - From: <[EMAIL PROTECTED]> To: <313@hyperreal.org> Sent: Saturday, November 02, 2002 12:29 PM Subject: (313) Whats on in London 16/11 > Does anyone know of any good parties on Saturday 16th in London? There never seems to be anything going on on Saturday nignts? > > Also, not 313 related, but does anyone know if soul and funk DJ Keb Darge has a Saturday night residency in London? > > Cheers > Stewart > > > ___ > Freeserve AnyTime, only £13.99 per month with one month's FREE trial! > For more information visit http://www.freeserve.com/time/ or call free on 0800 970 8890 > >
(313) not strictly 313 - warp xmas party
Not strictly 313 but a no-one has mentioned and a couple of guys from my work are doing visuals at it (along with the legend that is jeff minter - creator of llamtron etc) http://www.warprecords.com/news/?offset=0&ti_id=514
Re: (313) Techno as next big thing
> But most importantly, it keeps the scene healthy: more parties means > that more DJs and producers will be able to make a living from their It means More Chicks at Techno Parties! This is actually a chronic problem here in Rome, especially since a lot of the heads come from the squat/illegal rave scene, dominated by 20 somethings in greasy baseball hats. feeling especially mature today, fab. - Original Message - From: "Otto" <[EMAIL PROTECTED]> To: "313" <313@hyperreal.org> Sent: Sunday, November 03, 2002 10:41 PM Subject: Re: (313) Techno as next big thing > ian cheshire wrote: > > > Does anyone feel that Techno is slightly aquirign > > that "hip" thing to do at the mo. > > Can't speak for the UK, but here in .nl it's definitely getting to that > point (and practically without mainstream media attention!) because > there's tons of techno parties every weekend, some of which sell out > weeks in advance. > > The more the merrier I say. I'm certainly not going enjoy my techno any > less because all of a sudden a lot more people are into it, quite the > opposite probably. > > But most importantly, it keeps the scene healthy: more parties means > that more DJs and producers will be able to make a living from their > music and even if only 1 in 1000 party-goers starts fiddling around with > equipment, then that's going to be where the innovation comes from. > > Otto > >
Fwd: (313) theo parrish mix cd�s
Dont think they are that rare - I got a few of them on mailorder from recordtime and I know that Rub A Dub have most of them in stock. Cheers BT Hi, can anyone tell me how rare those theo parrish mix cd´s really are? in particular: "eclectric asthetic part 1" and "live in detroit ´99". The tracklisting looks very tasty... worth hunting down I guess ?!! Thank you, Maarten Do you know these tracks? http://www.morthenkiang.com/samples (sound samples taken from various mix tapes) - _ Internet access plans that fit your lifestyle -- join MSN. http://resourcecenter.msn.com/access/plans/default.asp
Re: (313) magic trax/ Fowlkes
I've got the Tresor 12" of Magic Trax: it's got "Flash Flood", a Drexciya track, "FFWD" and something else (maybe Blake Baxter?). What else is on the bootleg? I never realised that the Infiniti Collection came out on vinyl (I recently came upon the promo Sonar 123 on Metroplex, the Peacefrog 12" of which I looked for for years)! I spent a long Christmas holiday in the Hong Kong new territories with that, "Landcruising" and Sean Deason's "Razorback" on CD. All 3 conjure fantastic, vivid recollections of rickety boat trips out to island restaurants and Christmas Eve midnight treks through the countryside to pick up champagne from a 7-11. Jonny - Original Message - From: "J. T." <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Cc: <313@hyperreal.org> Sent: Monday, November 04, 2002 7:03 AM Subject: Re: (313) magic trax/ Fowlkes > >It's called 'Flash Flood'? It's the last track on the 2nd side on my copy > >(which is the promo/bootleg or whatever). Another listmember mentoined it > >was re-released on Tresor, so I just checked and found both the Ron Cook > >you > >wanted and this Infiniti track on Tresor 36 'Magic Tracks', and the > >Infiniti > > but hey uh wasnt it magic trax we were talking about in the first place? i'm > suddenly very confused...magic trax (the promo one with ron) is 8 tracks on > 12" and it is one of the quietest records i own which is why i'm looking for > it somewhere besides magic trax. i dunno if "ffwd" is on there or not but > i'm also really after ron's release on metroplex...i forget what number it > was, in the teens somewhere...if anybody could comment on it or give more > info i'd sure appreciate it! > > jt > > _ > Choose an Internet access plan right for you -- try MSN! > http://resourcecenter.msn.com/access/plans/default.asp > >
(313) sprawl and sofa so good. london spam...
..and I can hear you sigh "oh no not again" ; ) Happy Monday! Anya : ) http://www.dfuse.com/sprawl/sprawl_mainpage.htm#events "SPRAWL presents interplay - a tiny festival of big city collaborations London : Berlin / picture : sound 6 + 7 November 2002, 8 pm - midnight / venue: the spitz, 109 commercial street, old spitalfields market, london e1 8bg / tickets: £8 / £6 concs - £10 for both days [box office 020 7392 9032] / interplay is a collaboration between the Goethe Institute London and Sprawl PROGRAMME Wednesday 6th November 02 agf (orthlorng musork) + kaffe matthews frank bretschneider (raster noton) + tonne (Bip_Hop) barbara morgenstern (monika enterprise) + apache61 (daisyworld) Thursday 7th November 02 robert lippok (to rococo rot / tarwater) + BitTonic (sprawl) marc weiser (Rechenzentrum) + si-cut.db (sprawl) jan jelinek (farben / gramm) + BEFLIX (visual autopsies) on both nights a projected exhibition by berlin based artist alexander selski showing his series of transformed phone cards entitled "the green trumpeter", almost eerie landscaped cards and photo slides, drawing the viewer into distant lands of the imagination. a selection of videos, music driven and experimental film works plus flash & mixed media animation from production houses, graphic design studios and labels based in berlin. The programme is curated by cinefeel and includes work by new and established talent such as Fabian Grobe, Visomat, Codec, Pfadfinderei and V-CR and covers labels such as Mille Plateaux, Kitty Yo, Scape and many more." SOFA SO GOOD - Brixton Lounge @The Dogstar (my local : ) ) from 9pm - 2am, FREE entry. With special guests [...] Mon 25.11: Tom Churchill (Emoticon Records, Headscape Records) ___ Freeserve AnyTime, only £13.99 per month with one month's FREE trial! For more information visit http://www.freeserve.com/time/ or call free on 0800 970 8890
Re: (313) sprawl and sofa so good. london spam...
Cheers for posting that Anya. I missed Jan Jelinek in August and heard good reports. - Original Message - From: Anya Stang <[EMAIL PROTECTED]> To: <313@hyperreal.org> Sent: Monday, November 04, 2002 11:37 AM Subject: (313) sprawl and sofa so good. london spam... > .and I can hear you sigh "oh no not again" ; ) > > Happy Monday! > > Anya : ) > > http://www.dfuse.com/sprawl/sprawl_mainpage.htm#events > "SPRAWL presents interplay - a tiny festival of big city > collaborations London : Berlin / picture : sound > 6 + 7 November 2002, 8 pm - midnight / venue: the spitz, > 109 commercial street, old spitalfields market, london e1 8bg / > tickets: £8 / £6 concs - £10 for both days > [box office 020 7392 9032] / > interplay is a collaboration between the Goethe Institute > London and Sprawl > PROGRAMME > Wednesday 6th November 02 > agf (orthlorng musork) + kaffe matthews > frank bretschneider (raster noton) + tonne (Bip_Hop) > barbara morgenstern (monika enterprise) + apache61 (daisyworld) > Thursday 7th November 02 > robert lippok (to rococo rot / tarwater) + BitTonic (sprawl) > marc weiser (Rechenzentrum) + si-cut.db (sprawl) > jan jelinek (farben / gramm) + BEFLIX (visual autopsies) > on both nights > a projected exhibition by berlin based artist alexander selski > showing his series of transformed phone cards entitled > "the green trumpeter", almost eerie landscaped cards and photo > slides, drawing the viewer into distant lands of the imagination. > a selection of videos, music driven and experimental film works > plus flash & mixed media animation from production houses, graphic > design studios and labels based in berlin. The programme is > curated by cinefeel and includes work by new and established > talent such as Fabian Grobe, Visomat, Codec, Pfadfinderei and > V-CR and covers labels such as Mille Plateaux, Kitty Yo, Scape > and many more." > > SOFA SO GOOD - Brixton Lounge @The Dogstar (my local : ) ) > from 9pm - 2am, FREE entry. With special guests [...] > Mon 25.11: Tom Churchill (Emoticon Records, Headscape Records) > > ___ > Freeserve AnyTime, only £13.99 per month with one month's FREE trial! > For more information visit http://www.freeserve.com/time/ or call free on 0800 970 8890 > >
Re: (313) theo parrish mix cd´s
"live in detroit ´99" has been 'repressed' and is pretty available again At 3-11-2002 +0100 21:34, you wrote: Hi, can anyone tell me how rare those theo parrish mix cd´s really are? in particular: "eclectric asthetic part 1" and "live in detroit ´99". The tracklisting looks very tasty... worth hunting down I guess ?!! Thank you, Maarten .. . :: http://nomorewords.net
Re: (313) 100 BEST DJ IN THE WORLD....
I am yet to read all the responses on 313 but the poll looks very mainstream UK-centric to me. I laugh only at seeing Tiesto at number 1 as I have heard the album... I recall Armand Van Helden doing a parody of Euro-trance on his second album, a skit in which he boots off a Euro-trance DJ - with Tiesto, it's that sound but not meant to be parodic. Sure DJ Mag claims to be an international poll, but in that case why don't they join forces with dance magazines from around the world? DJ Mag is quite hard to get over here, more people would buy Muzik by surface or air, even more would read local publications, and I don't recall seeing it in North America either. People outside the UK would primarily find out about the poll from Dotmusic (a UK site) or other news sources picking it up from the UK sources. I would like to know exactly how internationally representative it is. I find this all as another example of imperial arrogance from certain factions of the UK music industry. DJ Mag did a special on the Australian dance scene - written by UK journalists visiting - and even got one person's gender wrong, so since then I haven't rated it that highly. > Inbox Message > > From: <[EMAIL PROTECTED]> > Subject: Re: (313) 100 BEST DJ IN THE WORLD > Date: 04/11/2002 9:55:45 > To: 313@hyperreal.org > CC: [EMAIL PROTECTED] > >> > If the same magazine was to carry out an >> > indepedent chart based on nothing more than a >> > DJ's skills rather than just what overexposed >> > DJ happens to get the majority of plastic >> > clubbers 'jumpin' after 10 pints of Stella or >> > a handfill of moody pills every saturday night... >> > then you know the list would be quite different. >> >> I'd say making people dance is rather essential DJ skill... Everything >> else is secondary. > > A good and fair point Otto, you'll have to excuse my momentary lapse into > musical snobbery :) > > > ___ > Freeserve AnyTime, only £13.99 per month with one month's FREE trial! > For more information visit http://www.freeserve.com/time/ or call free on 0800 > 970 8890 > > > > >
(313) new transllusion on rephlex
there's a new transllusion (drexciya) 12" out on rephlex which is a taster for a forthcoming album (all 3 tracks are non album tracks) has anyone heard it ? if i did not know i would never think it's drexciya but just as brilliant and much more club friendly stuff than anything that came out recently... has the potential to rock the floor...
Re: (313) 100 BEST DJ IN THE WORLD....
Another related point. I would bet that the vast majority of pollsters were from English speaking countries. Until a couple of years ago Sasha had NEVER played in Japan (not sure if he has since), sooo... he is a non-entity in Japan and has said so himself. So how many Japanese votes were counted? What about South America? Germany? Until DJ Mag makes an effort to reach out to these countries, and their demographics, than calling this internationally representative is misleading. -- >From: "Cyclone Wehner" <[EMAIL PROTECTED]> >To: 313 Detroit <313@hyperreal.org> >Subject: Re: (313) 100 BEST DJ IN THE WORLD >Date: Mon, 4 Nov 2002 11:34 PM > > I am yet to read all the responses on 313 but the poll looks very mainstream > UK-centric to me. > > I laugh only at seeing Tiesto at number 1 as I have heard the album... I > recall Armand Van Helden doing a parody of Euro-trance on his second album, > a skit in which he boots off a Euro-trance DJ - with Tiesto, it's that sound > but not meant to be parodic. > > Sure DJ Mag claims to be an international poll, but in that case why don't > they join forces with dance magazines from around the world? > > DJ Mag is quite hard to get over here, more people would buy Muzik by > surface or air, even more would read local publications, and I don't recall > seeing it in North America either. People outside the UK would primarily > find out about the poll from Dotmusic (a UK site) or other news sources > picking it up from the UK sources. I would like to know exactly how > internationally representative it is. > > I find this all as another example of imperial arrogance from certain > factions of the UK music industry. > > DJ Mag did a special on the Australian dance scene - written by UK > journalists visiting - and even got one person's gender wrong, so since then > I haven't rated it that highly. > >> Inbox Message >> >> From: <[EMAIL PROTECTED]> >> Subject: Re: (313) 100 BEST DJ IN THE WORLD >> Date: 04/11/2002 9:55:45 >> To: 313@hyperreal.org >> CC: [EMAIL PROTECTED] >> >>> > If the same magazine was to carry out an >>> > indepedent chart based on nothing more than a >>> > DJ's skills rather than just what overexposed >>> > DJ happens to get the majority of plastic >>> > clubbers 'jumpin' after 10 pints of Stella or >>> > a handfill of moody pills every saturday night... >>> > then you know the list would be quite different. >>> >>> I'd say making people dance is rather essential DJ skill... Everything >>> else is secondary. >> >> A good and fair point Otto, you'll have to excuse my momentary lapse into >> musical snobbery :) >> >> >> ___ >> Freeserve AnyTime, only £13.99 per month with one month's FREE trial! >> For more information visit http://www.freeserve.com/time/ or call free on 0800 >> 970 8890 >> >> >> >> >> > >
Re: (313) Rolando - Leeds - UK
Went to this on Saturday. Rolando was excellent, pitty about the audience. Venue was a bit strange, I always thought oslo would make a good venue but not so sure now. Sound system was poor, but the people there were worse. Illustrated by the fact someone fell on the decks about 2 records into rolandos set. Then someone dropped a computer on the mixer. Rolando didn't look too pleased, he carried on though, which is a credit to him. Some girl started shouting at my girlfriend. I think you get the picture I think the moment of the night though was before rolandos set when some pilled up 10 year old came up to me and said, Him: "You know drum and bass?" Me: "Yeah" Him: "Why do they keep playing the same song?" (While pointing towards the DJ booth) There were also quite a few "whoop whoops" and "Oi oi" during rolandos set. All in all a good night spoilt by the fact the place was full of c*nts. Rolando was good but I'm not too sure if he'll be rushing back to Leeds? -- Mike Mann, Ravinder [CCS] wrote: For anyone p north... Was on the bus on the way to work all bleary eyed and I saw a flyer for DJ Rolando at the Oslo bar in Leeds. A night called Technique, thats all the details my sleepy eyes could catch...but Ill go past the flyer again and sent more details... Rav
(313) 100 BEST DJ IN THE WORLD....
I can't believe you're arguing whether Mills is a good or bad DJ when TIESTO came in at 1. ;( Incidentally, Farina gave an interview here just lately and still says technique is important to his style of DJing. Quote: > Some trainspotters count the number of mistakes a DJ makes, while the vast > majority wouldn't care if there were a technical mistake in a set or not. > How important is technique when it comes to a strong DJ? > > I think it's essential. Coming from Chicago technique was everything > because everyone had the same records, so that was the way you > distinguished yourself from the rest. > Inbox Message > > From: "::\)" <[EMAIL PROTECTED]> > Subject: Re: (313) 100 BEST DJ IN THE WORLD > Date: 03/11/2002 8:29:13 > To: "FC3 Richards" <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]> > CC: <313@hyperreal.org> > > MY point was that mills isnt great at mixing records. > > ifs its due to his speed, he should slow down a bit. quality over quantity. > > I think his track selection is great though, in terms of picking which > record goes next. > > he does suck on a 909 too :) > > Im no mills hater by any means, I was at agents of change and enjoyed it > set. > > -Joe > > > - Original Message - > From: <[EMAIL PROTECTED]> > To: "FC3 Richards" <[EMAIL PROTECTED]> > Cc: "'::)'" <[EMAIL PROTECTED]>; <313@hyperreal.org> > Sent: Saturday, November 02, 2002 5:36 AM > Subject: RE: (313) 100 BEST DJ IN THE WORLD > > >> >> >> let me think...good tracks...tricks...hmmm...so you just said he is >> terrible, and the contradicted yourself in the next line. you didn't even >> put a filler sentance in. I'm not going to argue with you, we all have > our >> opinions, but there is something wrong with what you said. Elaborate a >> little more so others can argue with you... >> >> Oh dear! This is what is known as *sarcasm* FC3 .. to explain that means >> that Martijn thinks Mills is a brilliant DJ really and should be at the > top >> (or at least near the top) of the list. >> >> > >
Re: (313) new transllusion on rephlex
it's not so club friendly from what i've heard! are you talking about the L.I.F.E. album niko?..it's very very dark and spacey with industrial overtones even. half slow plodding thuddy beats, half 808 beats like we're used to but very abstract...nice tho...overall it's much darker than the first transllusion and doesnt have as much variety but it also feels a bit more substantial somehow, lots of attention to sound design/atmosphere. dope water drop noises, seagully sounds, parts echoing in and out...much more of a refined mood than the first transllusion and the track titles (and album name) say a lot jt From: "Niko Tzoukmanis" <[EMAIL PROTECTED]> To: <313@hyperreal.org> Subject: (313) new transllusion on rephlex Date: Mon, 4 Nov 2002 13:46:34 +0100 there's a new transllusion (drexciya) 12" out on rephlex which is a taster for a forthcoming album (all 3 tracks are non album tracks) has anyone heard it ? if i did not know i would never think it's drexciya but just as brilliant and much more club friendly stuff than anything that came out recently... has the potential to rock the floor... _ Get faster connections -- switch to MSN Internet Access! http://resourcecenter.msn.com/access/plans/default.asp
Re: (313) new transllusion on rephlex
just wanna say i very like the second 12" of the last week released double 12" (or LP?) on Tresor.. :) At 4-11-2002 -0500 08:53, you wrote: it's not so club friendly from what i've heard! are you talking about the L.I.F.E. album niko?..it's very very dark and spacey with industrial overtones even. half slow plodding thuddy beats, half 808 beats like we're used to but very abstract...nice tho...overall it's much darker than the first transllusion and doesnt have as much variety but it also feels a bit more substantial somehow, lots of attention to sound design/atmosphere. dope water drop noises, seagully sounds, parts echoing in and out...much more of a refined mood than the first transllusion and the track titles (and album name) say a lot jt From: "Niko Tzoukmanis" <[EMAIL PROTECTED]> To: <313@hyperreal.org> Subject: (313) new transllusion on rephlex Date: Mon, 4 Nov 2002 13:46:34 +0100 there's a new transllusion (drexciya) 12" out on rephlex which is a taster for a forthcoming album (all 3 tracks are non album tracks) has anyone heard it ? if i did not know i would never think it's drexciya but just as brilliant and much more club friendly stuff than anything that came out recently... has the potential to rock the floor... _ Get faster connections -- switch to MSN Internet Access! http://resourcecenter.msn.com/access/plans/default.asp .. . :: http://nomorewords.net
RE: (313) 100 BEST DJ IN THE WORLD (Mills)
Actually, Jeff doesn't claim to be a perfectionist, he believes in taking a
risk, his belief being: sometimes a move will come off, sometimes it won't,
but it's about the excitement level. He has elaborated on this in
interviews.
Me, I prefer that style to the seamless mixing of progressive house
stalwarts, a philosophy that is increasingly now paramount in deep house
circles (UK especially), where DJs are obsessed with mixing according to
keys and beats and the mix supersedes the records sure it's seamless
and perfect but it's very mono. It's not so much deep house as sleep house.
All this reminds me of a recent interview Chuck D gave here when he lamented
that today's pop producers and recording artists leave out the mistakes in a
record when mistakes make a record real and give it soul. He leaves them
in. So does Mills.
> From: [EMAIL PROTECTED]
> Subject: RE: (313) 100 BEST DJ IN THE WORLD (Mills)
> Date: 02/11/2002 21:44:50
> To: [EMAIL PROTECTED]
> CC: 313@hyperreal.org, [EMAIL PROTECTED] ("Pryor, Ryan N")
>
>
> live at the liquid room is laden with errors. it is a classic set. but it
> has at least 5 big mistakes. for a recorded mix that is a lot. mills is a
> sloppy dj. but he can get away with it because of his record selection.
>
> He can get away with it because he's so damn quick. When a DJ works the
> decks & mixer as much and as quickly as Mills does then there's bound to be
> some mistakes.
>
>
>
>
>
>
RE: (313) 100 BEST DJ IN THE WORLD....
Technique or no technique I think we are lucky that someone takes the time to do something with techno rather than waiting every 3-4 mins to mix a track, so what if there are mistkes, crickey I would hate to go to a club and hear a CD performance but then that is my own personal preference :) -Original Message- From: Cyclone Wehner [mailto:[EMAIL PROTECTED] Sent: 04 November 2002 13:27 To: 313 Detroit Subject: (313) 100 BEST DJ IN THE WORLD I can't believe you're arguing whether Mills is a good or bad DJ when TIESTO came in at 1. ;( Incidentally, Farina gave an interview here just lately and still says technique is important to his style of DJing. Quote: > Some trainspotters count the number of mistakes a DJ makes, while the vast > majority wouldn't care if there were a technical mistake in a set or not. > How important is technique when it comes to a strong DJ? > > I think it's essential. Coming from Chicago technique was everything > because everyone had the same records, so that was the way you > distinguished yourself from the rest. > Inbox Message > > From: "::\)" <[EMAIL PROTECTED]> > Subject: Re: (313) 100 BEST DJ IN THE WORLD > Date: 03/11/2002 8:29:13 > To: "FC3 Richards" <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]> > CC: <313@hyperreal.org> > > MY point was that mills isnt great at mixing records. > > ifs its due to his speed, he should slow down a bit. quality over quantity. > > I think his track selection is great though, in terms of picking which > record goes next. > > he does suck on a 909 too :) > > Im no mills hater by any means, I was at agents of change and enjoyed it > set. > > -Joe > > > - Original Message - > From: <[EMAIL PROTECTED]> > To: "FC3 Richards" <[EMAIL PROTECTED]> > Cc: "'::)'" <[EMAIL PROTECTED]>; <313@hyperreal.org> > Sent: Saturday, November 02, 2002 5:36 AM > Subject: RE: (313) 100 BEST DJ IN THE WORLD > > >> >> >> let me think...good tracks...tricks...hmmm...so you just said he is >> terrible, and the contradicted yourself in the next line. you didn't even >> put a filler sentance in. I'm not going to argue with you, we all have > our >> opinions, but there is something wrong with what you said. Elaborate a >> little more so others can argue with you... >> >> Oh dear! This is what is known as *sarcasm* FC3 .. to explain that means >> that Martijn thinks Mills is a brilliant DJ really and should be at the > top >> (or at least near the top) of the list. >> >> > > --- Incoming mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.408 / Virus Database: 230 - Release Date: 24/10/02 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.408 / Virus Database: 230 - Release Date: 24/10/02
Re: (313) 100 BEST DJ IN THE WORLD (Mills)
This is somewhat of a double-edged sword I think. In one respect, people go
to see a DJ like Mills so they can dance. In the other respect, they go to
watch his craft, which then takes the DJ out of his normal context and into
that of an artist, because you are viewing him/her rather than interacting.
(another argument which I'm not going to pontificate on here) So you get
one half of the audience dancing and the other just watching. This has been,
IMHO, the downfall of techno turntablism and the like in recent years. Too
much watching, not enough dancing.
I went to see Mills in Zurich a year ago and there was far too much of the
latter going on. You could see him actually looking rather annoyed as one
absolute classic after another (Final Frontier, Magnese) was being dropped
only to see a leaden-footed and mute reaction from the crowd. How must a DJ
feel when they are faced by banks of motionless people looking at them spin
some records?
- Original Message -
From: Cyclone Wehner <[EMAIL PROTECTED]>
To: 313 Detroit <313@hyperreal.org>
Sent: Monday, November 04, 2002 1:46 PM
Subject: RE: (313) 100 BEST DJ IN THE WORLD (Mills)
> Actually, Jeff doesn't claim to be a perfectionist, he believes in taking
a
> risk, his belief being: sometimes a move will come off, sometimes it
won't,
> but it's about the excitement level. He has elaborated on this in
> interviews.
> Me, I prefer that style to the seamless mixing of progressive house
> stalwarts, a philosophy that is increasingly now paramount in deep house
> circles (UK especially), where DJs are obsessed with mixing according to
> keys and beats and the mix supersedes the records sure it's seamless
> and perfect but it's very mono. It's not so much deep house as sleep
house.
>
> All this reminds me of a recent interview Chuck D gave here when he
lamented
> that today's pop producers and recording artists leave out the mistakes in
a
> record when mistakes make a record real and give it soul. He leaves
them
> in. So does Mills.
>
>
>
> > From: [EMAIL PROTECTED]
> > Subject: RE: (313) 100 BEST DJ IN THE WORLD (Mills)
> > Date: 02/11/2002 21:44:50
> > To: [EMAIL PROTECTED]
> > CC: 313@hyperreal.org, [EMAIL PROTECTED] ("Pryor, Ryan N")
> >
> >
> > live at the liquid room is laden with errors. it is a classic set. but
it
> > has at least 5 big mistakes. for a recorded mix that is a lot. mills is
a
> > sloppy dj. but he can get away with it because of his record selection.
> >
> > He can get away with it because he's so damn quick. When a DJ works the
> > decks & mixer as much and as quickly as Mills does then there's bound to
be
> > some mistakes.
> >
> >
> >
> >
> >
> >
Re: (313) 100 BEST DJ IN THE WORLD (Mills)
This is true, Toby. But, I must say that if Mills
didn't enjoy being watched, he could very well conceal
himself like Hawtin does at his plastic parties. So
this leads me to personally believe that Mills enjoys
the attention of people wtching his skills...
"Toby Frith" wrote:
>
> This is somewhat of a double-edged sword I think. In
> one respect, people go
> to see a DJ like Mills so they can dance. In the other
> respect, they go to
> watch his craft, which then takes the DJ out of his
> normal context and into
> that of an artist, because you are viewing him/her
> rather than interacting.
> (another argument which I'm not going to pontificate
on
> here) So you get
> one half of the audience dancing and the other just
> watching. This has been,
> IMHO, the downfall of techno turntablism and the like
> in recent years. Too
> much watching, not enough dancing.
>
> I went to see Mills in Zurich a year ago and there was
> far too much of the
> latter going on. You could see him actually looking
> rather annoyed as one
> absolute classic after another (Final Frontier,
> Magnese) was being dropped
> only to see a leaden-footed and mute reaction from the
> crowd. How must a DJ
> feel when they are faced by banks of motionless people
> looking at them spin
> some records?
>
>
>
>
>
>
>
>
>
> - Original Message -
> From: Cyclone Wehner <[EMAIL PROTECTED]>
> To: 313 Detroit <313@hyperreal.org>
> Sent: Monday, November 04, 2002 1:46 PM
> Subject: RE: (313) 100 BEST DJ IN THE WORLD (Mills)
>
>
> > Actually, Jeff doesn't claim to be a perfectionist,
> he believes in taking
> a
> > risk, his belief being: sometimes a move will come
> off, sometimes it
> won't,
> > but it's about the excitement level. He has
> elaborated on this in
> > interviews.
> > Me, I prefer that style to the seamless mixing of
> progressive house
> > stalwarts, a philosophy that is increasingly now
> paramount in deep house
> > circles (UK especially), where DJs are obsessed with
> mixing according to
> > keys and beats and the mix supersedes the records
> sure it's seamless
> > and perfect but it's very mono. It's not so much
deep
> house as sleep
> house.
> >
> > All this reminds me of a recent interview Chuck D
> gave here when he
> lamented
> > that today's pop producers and recording artists
> leave out the mistakes in
> a
> > record when mistakes make a record real and give it
> soul. He leaves
> them
> > in. So does Mills.
> >
> >
> >
> > > From: [EMAIL PROTECTED]
> > > Subject: RE: (313) 100 BEST DJ IN THE WORLD
(Mills)
> > > Date: 02/11/2002 21:44:50
> > > To: [EMAIL PROTECTED]
> > > CC: 313@hyperreal.org, [EMAIL PROTECTED] ("Pryor, Ryan
N")
> > >
> > >
> > > live at the liquid room is laden with errors. it
is
> a classic set. but
> it
> > > has at least 5 big mistakes. for a recorded mix
> that is a lot. mills is
> a
> > > sloppy dj. but he can get away with it because of
> his record selection.
> > >
> > > He can get away with it because he's so damn
quick.
> When a DJ works the
> > > decks & mixer as much and as quickly as Mills does
> then there's bound to
> be
> > > some mistakes.
> > >
> > >
> > >
> > >
> > >
> > >
TJJ
~in a perfect world, nothing is perfect~
PeoplePC: It's for people. And it's just smart.
http://www.peoplepc.com
Re: (313) magic trax/ Fowlkes
oh duh now i get it :P...the official release of magic tracks is normal length (and loudness!) (sorry tristan!) and has ron's track! woohooo i'm pumped ..wish it had the scan 7 track on there tho.. i gotta get looking for the vinyl version of infiniti collection now too thanks for all the tips and info guys! jt I've got the Tresor 12" of Magic Trax: it's got "Flash Flood", a Drexciya track, "FFWD" and something else (maybe Blake Baxter?). What else is on the bootleg? I never realised that the Infiniti Collection came out on vinyl (I recently came upon the promo Sonar 123 on Metroplex, the Peacefrog 12" of which I looked for for years)! I spent a long Christmas holiday in the Hong Kong new territories with that, "Landcruising" and Sean Deason's "Razorback" on CD. All 3 conjure fantastic, vivid recollections of rickety boat trips out to island restaurants and Christmas Eve midnight treks through the countryside to pick up champagne from a 7-11. Jonny - Original Message - From: "J. T." <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Cc: <313@hyperreal.org> Sent: Monday, November 04, 2002 7:03 AM Subject: Re: (313) magic trax/ Fowlkes > >It's called 'Flash Flood'? It's the last track on the 2nd side on my copy > >(which is the promo/bootleg or whatever). Another listmember mentoined it > >was re-released on Tresor, so I just checked and found both the Ron Cook > >you > >wanted and this Infiniti track on Tresor 36 'Magic Tracks', and the > >Infiniti > > but hey uh wasnt it magic trax we were talking about in the first place? i'm > suddenly very confused...magic trax (the promo one with ron) is 8 tracks on > 12" and it is one of the quietest records i own which is why i'm looking for > it somewhere besides magic trax. i dunno if "ffwd" is on there or not but > i'm also really after ron's release on metroplex...i forget what number it > was, in the teens somewhere...if anybody could comment on it or give more > info i'd sure appreciate it! > > jt > > _ > Choose an Internet access plan right for you -- try MSN! > http://resourcecenter.msn.com/access/plans/default.asp > > _ Get faster connections -- switch to MSN Internet Access! http://resourcecenter.msn.com/access/plans/default.asp
Re: (313) new transllusion on rephlex
yes i like the album quite a bit too i didnt quite say that the first time...it comes together better than the recent drexciya stuff too imo..even if it doesnt have the drex basslines i die for i am really into it.. From: marsel <[EMAIL PROTECTED]> To: 313@hyperreal.org Subject: Re: (313) new transllusion on rephlex Date: Mon, 04 Nov 2002 14:55:46 +0100 just wanna say i very like the second 12" of the last week released double 12" (or LP?) on Tresor.. :) At 4-11-2002 -0500 08:53, you wrote: it's not so club friendly from what i've heard! are you talking about the L.I.F.E. album niko?..it's very very dark and spacey with industrial overtones even. half slow plodding thuddy beats, half 808 beats like we're used to but very abstract...nice tho...overall it's much darker than the first transllusion and doesnt have as much variety but it also feels a bit more substantial somehow, lots of attention to sound design/atmosphere. dope water drop noises, seagully sounds, parts echoing in and out...much more of a refined mood than the first transllusion and the track titles (and album name) say a lot jt From: "Niko Tzoukmanis" <[EMAIL PROTECTED]> To: <313@hyperreal.org> Subject: (313) new transllusion on rephlex Date: Mon, 4 Nov 2002 13:46:34 +0100 there's a new transllusion (drexciya) 12" out on rephlex which is a taster for a forthcoming album (all 3 tracks are non album tracks) has anyone heard it ? if i did not know i would never think it's drexciya but just as brilliant and much more club friendly stuff than anything that came out recently... has the potential to rock the floor... _ Get faster connections -- switch to MSN Internet Access! http://resourcecenter.msn.com/access/plans/default.asp .. . :: http://nomorewords.net _ Surf the Web without missing calls! Get MSN Broadband. http://resourcecenter.msn.com/access/plans/freeactivation.asp
Re: (313) 100 BEST DJ IN THE WORLD (Mills)
Because maybe he comes from the era of DJing where it is an interactive performance? The traditional house DJing is like call and response, like in a church. That's how I like it! OK, it's 1.30 am and I am rambling now! > Inbox Message > > From: "T.J.Johnson" <[EMAIL PROTECTED]> > Subject: Re: (313) 100 BEST DJ IN THE WORLD (Mills) > Date: 05/11/2002 1:14:26 > To: [EMAIL PROTECTED] > CC: [EMAIL PROTECTED], 313@hyperreal.org > > This is true, Toby. But, I must say that if Mills > didn't enjoy being watched, he could very well conceal > himself like Hawtin does at his plastic parties. So > this leads me to personally believe that Mills enjoys > the attention of people wtching his skills... > > > "Toby Frith" wrote:
RE: (313) 100 BEST DJ IN THE WORLD (Mills)
yeah but watching Richie is like watching paint dry, no offence but I
have never seen him work it like Mills does. Few have seen him smile as well
:)
-Original Message-
From: T.J.Johnson [mailto:[EMAIL PROTECTED]
Sent: 04 November 2002 14:14
To: [EMAIL PROTECTED]
Cc: [EMAIL PROTECTED]; 313@hyperreal.org
Subject: Re: (313) 100 BEST DJ IN THE WORLD (Mills)
This is true, Toby. But, I must say that if Mills
didn't enjoy being watched, he could very well conceal
himself like Hawtin does at his plastic parties. So
this leads me to personally believe that Mills enjoys
the attention of people wtching his skills...
"Toby Frith" wrote:
>
> This is somewhat of a double-edged sword I think. In
> one respect, people go
> to see a DJ like Mills so they can dance. In the other
> respect, they go to
> watch his craft, which then takes the DJ out of his
> normal context and into
> that of an artist, because you are viewing him/her
> rather than interacting.
> (another argument which I'm not going to pontificate
on
> here) So you get
> one half of the audience dancing and the other just
> watching. This has been,
> IMHO, the downfall of techno turntablism and the like
> in recent years. Too
> much watching, not enough dancing.
>
> I went to see Mills in Zurich a year ago and there was
> far too much of the
> latter going on. You could see him actually looking
> rather annoyed as one
> absolute classic after another (Final Frontier,
> Magnese) was being dropped
> only to see a leaden-footed and mute reaction from the
> crowd. How must a DJ
> feel when they are faced by banks of motionless people
> looking at them spin
> some records?
>
>
>
>
>
>
>
>
>
> - Original Message -
> From: Cyclone Wehner <[EMAIL PROTECTED]>
> To: 313 Detroit <313@hyperreal.org>
> Sent: Monday, November 04, 2002 1:46 PM
> Subject: RE: (313) 100 BEST DJ IN THE WORLD (Mills)
>
>
> > Actually, Jeff doesn't claim to be a perfectionist,
> he believes in taking
> a
> > risk, his belief being: sometimes a move will come
> off, sometimes it
> won't,
> > but it's about the excitement level. He has
> elaborated on this in
> > interviews.
> > Me, I prefer that style to the seamless mixing of
> progressive house
> > stalwarts, a philosophy that is increasingly now
> paramount in deep house
> > circles (UK especially), where DJs are obsessed with
> mixing according to
> > keys and beats and the mix supersedes the records
> sure it's seamless
> > and perfect but it's very mono. It's not so much
deep
> house as sleep
> house.
> >
> > All this reminds me of a recent interview Chuck D
> gave here when he
> lamented
> > that today's pop producers and recording artists
> leave out the mistakes in
> a
> > record when mistakes make a record real and give it
> soul. He leaves
> them
> > in. So does Mills.
> >
> >
> >
> > > From: [EMAIL PROTECTED]
> > > Subject: RE: (313) 100 BEST DJ IN THE WORLD
(Mills)
> > > Date: 02/11/2002 21:44:50
> > > To: [EMAIL PROTECTED]
> > > CC: 313@hyperreal.org, [EMAIL PROTECTED] ("Pryor, Ryan
N")
> > >
> > >
> > > live at the liquid room is laden with errors. it
is
> a classic set. but
> it
> > > has at least 5 big mistakes. for a recorded mix
> that is a lot. mills is
> a
> > > sloppy dj. but he can get away with it because of
> his record selection.
> > >
> > > He can get away with it because he's so damn
quick.
> When a DJ works the
> > > decks & mixer as much and as quickly as Mills does
> then there's bound to
> be
> > > some mistakes.
> > >
> > >
> > >
> > >
> > >
> > >
TJJ
~in a perfect world, nothing is perfect~
PeoplePC: It's for people. And it's just smart.
http://www.peoplepc.com
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Re: (313) 100 BEST DJ IN THE WORLD (Mills)
While I respect your opinion and understand that your comments are made in the context of this discussion (and also that dance music is ostensibly made for dancing), I have to say that I find the notion that someone gets to say how *I* need to react to something else in the sense that I can be marginalized when I don't is reductionistic and at least as problematic as a person who doesn't respond in the way dictated by whomever. I don't dance and I doubt I ever will; perhaps it's childhood trauma or an ill formed sense of self - whatever. That doesn't mean I don't enjoy the music nor does it mean I have to be saddled with restructuring a performative context or bumming out a DJ. It would seem like the fact that I haven't left the venue should say something. In an age where all kinds of criticism (literary, etc.) has freed art from static notions tied with the artist, I find it interesting that the monolithic notion of "must-dancing" still rules. I do understand the need for it and I understand how it creates a necessary symbiosis - but why does *everyone* need to be dancing in order for them to enjoy and appreciate something? We aren't all dancers, we aren't all as comfortable with dancing as each other. As a qualifier, I am not saying that any behavior or reaction to art is equally appropriate, nor am I saying there is no tie between art and artist. I just find it a bit tyrannical and quixotic to dictate behavior to a set. Again, my comments are not directed to this particular post (as I can see the connection you are making vis a vis the trend), but rather towards the notion that seems to underlie it : if I don't dance, I am unappreciative and some kind of pariah. If it's really about the music OR the mix, then I should be left to appreciate it in a way which is genuine to myself and doesn't shipwreck someone else's enjoyment. .02. jeff At 08:09 AM 11/4/2002, Toby Frith wrote: This is somewhat of a double-edged sword I think. In one respect, people go to see a DJ like Mills so they can dance. In the other respect, they go to watch his craft, which then takes the DJ out of his normal context and into that of an artist, because you are viewing him/her rather than interacting. (another argument which I'm not going to pontificate on here) So you get one half of the audience dancing and the other just watching. This has been, IMHO, the downfall of techno turntablism and the like in recent years. Too much watching, not enough dancing. I went to see Mills in Zurich a year ago and there was far too much of the latter going on. You could see him actually looking rather annoyed as one absolute classic after another (Final Frontier, Magnese) was being dropped only to see a leaden-footed and mute reaction from the crowd. How must a DJ feel when they are faced by banks of motionless people looking at them spin some records?
Re: (313) 100 BEST DJ IN THE WORLD (Mills)
Amen Jeff! It always bugs the hell out of me when the self-elected party revolutionary leader stands up at the show and starts yelling at people to start dancing. If he/she needs other people to dance for them to fell comfortable with dancing themselves, maybe they should get drunk or something. "Bite me" is what I usually end up thinking... On Mon, 04 Nov 2002, Mxyzptlk wrote: > > While I respect your opinion and understand that your > comments are made in > the context of this discussion (and also that dance > music is ostensibly > made for dancing), I have to say that I find the notion > that someone gets > to say how *I* need to react to something else in the > sense that I can be > marginalized when I don't is reductionistic and at > least as problematic as > a person who doesn't respond in the way dictated by > whomever. I don't dance > and I doubt I ever will; perhaps it's childhood trauma > or an ill formed > sense of self - whatever. That doesn't mean I don't > enjoy the music nor > does it mean I have to be saddled with restructuring a > performative context > or bumming out a DJ. It would seem like the fact that I > haven't left the > venue should say something. > In an age where all kinds of criticism > (literary, etc.) has freed > art from static notions tied with the artist, I find it > interesting that > the monolithic notion of "must-dancing" still rules. I > do understand the > need for it and I understand how it creates a necessary > symbiosis - but why > does *everyone* need to be dancing in order for them to > enjoy and > appreciate something? > We aren't all dancers, we aren't all as comfortable > with dancing as each > other. As a qualifier, I am not saying that any > behavior or reaction to art > is equally appropriate, nor am I saying there is no tie > between art and > artist. I just find it a bit tyrannical and quixotic to > dictate behavior to > a set. Again, my comments are not directed to this > particular post (as I > can see the connection you are making vis a vis the > trend), but rather > towards the notion that seems to underlie it : if I > don't dance, I am > unappreciative and some kind of pariah. If it's really > about the music OR > the mix, then I should be left to appreciate it in a > way which is genuine > to myself and doesn't shipwreck someone else's > enjoyment. .02. > > > jeff > > > At 08:09 AM 11/4/2002, Toby Frith wrote: > >This is somewhat of a double-edged sword I think. In > one respect, people go > >to see a DJ like Mills so they can dance. In the other > respect, they go to > >watch his craft, which then takes the DJ out of his > normal context and into > >that of an artist, because you are viewing him/her > rather than interacting. > >(another argument which I'm not going to pontificate > on here) So you get > >one half of the audience dancing and the other just > watching. This has been, > >IMHO, the downfall of techno turntablism and the like > in recent years. Too > >much watching, not enough dancing. > > > >I went to see Mills in Zurich a year ago and there was > far too much of the > >latter going on. You could see him actually looking > rather annoyed as one > >absolute classic after another (Final Frontier, > Magnese) was being dropped > >only to see a leaden-footed and mute reaction from the > crowd. How must a DJ > >feel when they are faced by banks of motionless people > looking at them spin > >some records? TJJ ~in a perfect world, nothing is perfect~ PeoplePC: It's for people. And it's just smart. http://www.peoplepc.com
Re: (313) 100 BEST DJ IN THE WORLD (Mills)
Mills (again) played a DJ set at the Royal Festival Hall in London recently as the finale to the showing of his adaptation of the Metropolis soundtrack. Seeing someone DJ at a venue (with seats) was rather bizarre. A large section of the crowd rushed towards the front to dance, whilst the bemused rest watched from their seats. Some people didn't know whether to dance or to remain seated (including me!). It did beg the question though, when transported to a different atmosphere, did it really make any sense? I mean, it's just a guy spinning a number of records. I can't really articulate what I want to say, because it will mean going into that whole artist/DJ argument which I can't be arsed with. - Original Message - From: Mxyzptlk <[EMAIL PROTECTED]> To: Toby Frith <[EMAIL PROTECTED]>; Cyclone Wehner <[EMAIL PROTECTED]>; 313 Detroit <313@hyperreal.org> Sent: Monday, November 04, 2002 3:53 PM Subject: Re: (313) 100 BEST DJ IN THE WORLD (Mills) > While I respect your opinion and understand that your comments are made in > the context of this discussion (and also that dance music is ostensibly > made for dancing), I have to say that I find the notion that someone gets > to say how *I* need to react to something else in the sense that I can be > marginalized when I don't is reductionistic and at least as problematic as > a person who doesn't respond in the way dictated by whomever. I don't dance > and I doubt I ever will; perhaps it's childhood trauma or an ill formed > sense of self - whatever. That doesn't mean I don't enjoy the music nor > does it mean I have to be saddled with restructuring a performative context > or bumming out a DJ. It would seem like the fact that I haven't left the > venue should say something. > In an age where all kinds of criticism (literary, etc.) has freed > art from static notions tied with the artist, I find it interesting that > the monolithic notion of "must-dancing" still rules. I do understand the > need for it and I understand how it creates a necessary symbiosis - but why > does *everyone* need to be dancing in order for them to enjoy and > appreciate something? > We aren't all dancers, we aren't all as comfortable with dancing as each > other. As a qualifier, I am not saying that any behavior or reaction to art > is equally appropriate, nor am I saying there is no tie between art and > artist. I just find it a bit tyrannical and quixotic to dictate behavior to > a set. Again, my comments are not directed to this particular post (as I > can see the connection you are making vis a vis the trend), but rather > towards the notion that seems to underlie it : if I don't dance, I am > unappreciative and some kind of pariah. If it's really about the music OR > the mix, then I should be left to appreciate it in a way which is genuine > to myself and doesn't shipwreck someone else's enjoyment. .02. > > jeff > > > At 08:09 AM 11/4/2002, Toby Frith wrote: > >This is somewhat of a double-edged sword I think. In one respect, people go > >to see a DJ like Mills so they can dance. In the other respect, they go to > >watch his craft, which then takes the DJ out of his normal context and into > >that of an artist, because you are viewing him/her rather than interacting. > >(another argument which I'm not going to pontificate on here) So you get > >one half of the audience dancing and the other just watching. This has been, > >IMHO, the downfall of techno turntablism and the like in recent years. Too > >much watching, not enough dancing. > > > >I went to see Mills in Zurich a year ago and there was far too much of the > >latter going on. You could see him actually looking rather annoyed as one > >absolute classic after another (Final Frontier, Magnese) was being dropped > >only to see a leaden-footed and mute reaction from the crowd. How must a DJ > >feel when they are faced by banks of motionless people looking at them spin > >some records? > >
(313) 313 Detroit <313@hyperreal.org>
That would be John "00" Fleming. Plays hard trance. >> 36. J00F > who are these monkeys ?
(313) 313 Detroit <313@hyperreal.org>
That would be John "00" Fleming. Plays hard trance. >> 36. J00F > who are these monkeys ?
Re: (313) 100 BEST DJ IN THE WORLD (Mills)
Personally, I like to get the dancers dancing and the 'spotters 'spotting: I like having the whooping, screaming, yelling, jacking, climbing the walls AND the googly eyed "what's he doing?!? What's that record?!" You don't have to dance to recognise that it's a pretty similar achievement: everyone comes away saying, damn he/she banged it out - *that's* what I'm after. As to how you do it, do it any way you want to. I used to do tricks far more than I do now, I now never scratch beyond the odd second copy doubling up, and I pretty much conform to Cyclone's "sleep house" school of DJing. I certainly *wouldn't* say that the mix supercedes the records - quite the opposite - and in any case, it's just something that I have observed works better for the music I play. Some of the "sleep house" gang would say that mixing it up in the Mills style is mix over content, but they'd be equally wrong. It's horses for courses, and I suppose a good DJ will adapt accordingly. In my case, it's certainly not lack of skill - I'm relying on some charity here :) - nor is it some deeper than thou homage to the house canon, it just works for me. Not to say there aren't style over content DJs, but they're the *real* boring ones. All just IMHO.
Re: (313) 100 BEST DJ IN THE WORLD (Mills)
I can't really articulate what I want to say, because it will mean going into that whole artist/DJ argument which I can't be arsed with. Understood - but what needs to be said here is that there is artifice involved in any performance - and being a DJ of any and every ilk still involves artifice...it's just a different kind/kinds. Some of them are simply more transparent than others. The trouble with this whole issue is the tendency to answer complex questions with simple solutions, whether it be the analysis of the DJ/artist, the crowd or the individuals in the crowd rather than recognizing either the vast blend of factors going into the pot to make the stew. IMO it's the same kind of reductionist simplicity which denies a legitimate variety of response (e.g.,not taking into account that different people represent differently). jeff (who really does do more than post ebay links :-)
RE: (313) 100 BEST DJ IN THE WORLD (Mills)
... Johnny Mcintosh will be appearing at Public Life, London on 16 November, in Slices #3, dedicated to all forms of house. :o) >-Original Message- >From: Jonny McIntosh [mailto:[EMAIL PROTECTED] >Sent: Monday, November 04, 2002 3:17 PM >To: 313 Detroit >Subject: Re: (313) 100 BEST DJ IN THE WORLD (Mills) > > >Personally, I like to get the dancers dancing and the 'spotters >'spotting: I >like having the whooping, screaming, yelling, jacking, climbing the walls >AND the googly eyed "what's he doing?!? What's that record?!" You >don't have >to dance to recognise that it's a pretty similar achievement: >everyone comes >away saying, damn he/she banged it out - *that's* what I'm after. > >As to how you do it, do it any way you want to. I used to do >tricks far more >than I do now, I now never scratch beyond the odd second copy doubling up, >and I pretty much conform to Cyclone's "sleep house" school of DJing. I >certainly *wouldn't* say that the mix supercedes the records - quite the >opposite - and in any case, it's just something that I have observed works >better for the music I play. Some of the "sleep house" gang would say that >mixing it up in the Mills style is mix over content, but they'd be equally >wrong. It's horses for courses, and I suppose a good DJ will adapt >accordingly. In my case, it's certainly not lack of skill - I'm relying on >some charity here :) - nor is it some deeper than thou homage to the house >canon, it just works for me. Not to say there aren't style over >content DJs, >but they're the *real* boring ones. > >All just IMHO. > >
(313) 100 BEST DJ IN THE WORLD....
OK, gradually working my way through this. :) I'm not sure why some 313 listers are so offended with Frederic posting the DJ poll to the list. I think it's worthy for discussion, maybe he did too, it could be that simple. I don't think you need read something into it that isn't there. It's newsworthy, right? What happens in the wider dance culture is relevant, isn't it? > Inbox Message > > From: [EMAIL PROTECTED] > Subject: (313) 100 BEST DJ IN THE WORLD > Date: 02/11/2002 1:31:31 > To: [EMAIL PROTECTED], 313@hyperreal.org > > > > > 1.Tiesto > > 2. Sasha > > 3. John Digweed > > 4. Paul Van Dyk > > 5. Armin Van Burren > > 6. Paul Oakenfold > > 7.Judge Jules > > 8. Carl Cox > > 9. Ferry Corsten > > 10. Lee Burridge > > 11. Danny Tenaglia > > 12. Danny Howells > > 13. Steve Lawler > > 14. Mauro Picotto > > 15. Sander Kleinenberg > > 16. Deep Dish > > 17. Erick Morillo > > 18. Lisa Lashes > > 19. Hernan Cattaneo > > 20. Roger Sanchez > > 21. Fergie > > 22. Fatboy Slim > > 23. Dave Clarke > > 24. Richie Hawtin > > 25. Derrick Carter > > 26. Pete Tong > > 27. Anne Savage > > 28. Andy C > > 29. Marco V > > 30. Satoshi Tomiie > > 31. MAW > > 32. Seb Fontaine > > 33. Darren Emerson > > 34. Craig Richards > > 35.Eddie Halliwell > > 36. J00F > > 37. Nick Warren > > 38. Dave Seamen > > 39. James Sir Wheeler Zabiela > > 40. Scott Bond > > 41. Tom Stephan > > 42. John Kelly > > 43. Scot Project > > 44. Terry Francis > > 45. Lottie > > 46. Laurent Garnier > > 47. Guy Ornadel > > 48. Lisa Pin Up > > 49. Anthony Pappa > > 50. Johan Gielen > > 51. Dave Lee > > 52. Marky > > 53. Andy Farley > > 54. Yousef > > 55. Sven Vath > > 56. Layo & Bushwacka > > 57. Timo Mass > > 58. Jeff Mills > > 59. Matt Hardwick > > 60. Christopher Lawrence > > 61. Jimmy Van M > > 62. Plump Djs > > 63. Tidy Boys > > 64. Hype > > 65. Chris Fortier > > 66. Norman Jay > > 67. JFK > > 68. Bad Boy Bill > > 69. Danny Rampling > > 70. Chris Liberation > > 71. Bk > > 72. X-Press 2 > > 73. Frankie Knuckles > > 74. Krafty Kuts > > 75. Umek > > 76. Tall Paul > > 77. Mark Parina > > 78. Ashley Casselle > > 79. Mistress Barbra > > 80. Max Graham > > 81. Tony Humphries > > 82. Adam Freeland > > 83. George Acosta > > 84. Mario Piu > > 85. David Morales > > 86. Stanton Warriors > > 87. Alan Thompson > > 88. Paul Glazby > > 89. Giles Peterson > > 90. Mr Scuff > > 91. Hybrid > > 92. Dave Pearce > > 93. Tim Delux > > 94. Zinc > > 95. Joy Kitikonti > > 96. Smokin Jo > > 97. Grooverider > > 98. Slam > > 99. Tom Middleton > > 100. Dave The Drummer
Re: (313) 100 BEST DJ IN THE WORLD (Mills)
And I'll quickly add I don't always get to do what I like, so don't kick my head in if I don't have you climbing walls ;) > ... Johnny Mcintosh will be appearing at Public Life, London on 16 November, > in Slices #3, dedicated to all forms of house. > > :o) > > > > > >Personally, I like to get the dancers dancing and the 'spotters > >'spotting: I > >like having the whooping, screaming, yelling, jacking, climbing the walls
RE: (313) 100 BEST DJ IN THE WORLD (Mills)
F*** ART, LET'S DANCE. I didn't get to the end of that piece I almost fell asleep trying to get to grips with its faux-intellectual weightiness. Don't be so pretentious ferchrisakes it's dance music! -Original Message- From: Mxyzptlk [mailto:[EMAIL PROTECTED] Sent: Monday, November 04, 2002 3:53 PM To: Toby Frith; Cyclone Wehner; 313 Detroit Subject: Re: (313) 100 BEST DJ IN THE WORLD (Mills) While I respect your opinion and understand that your comments are made in the context of this discussion (and also that dance music is ostensibly made for dancing), I have to say that I find the notion that someone gets to say how *I* need to react to something else in the sense that I can be marginalized when I don't is reductionistic and at least as problematic as a person who doesn't respond in the way dictated by whomever. I don't dance and I doubt I ever will; perhaps it's childhood trauma or an ill formed sense of self - whatever. That doesn't mean I don't enjoy the music nor does it mean I have to be saddled with restructuring a performative context or bumming out a DJ. It would seem like the fact that I haven't left the venue should say something. In an age where all kinds of criticism (literary, etc.) has freed art from static notions tied with the artist, I find it interesting that the monolithic notion of "must-dancing" still rules. I do understand the need for it and I understand how it creates a necessary symbiosis - but why does *everyone* need to be dancing in order for them to enjoy and appreciate something? We aren't all dancers, we aren't all as comfortable with dancing as each other. As a qualifier, I am not saying that any behavior or reaction to art is equally appropriate, nor am I saying there is no tie between art and artist. I just find it a bit tyrannical and quixotic to dictate behavior to a set. Again, my comments are not directed to this particular post (as I can see the connection you are making vis a vis the trend), but rather towards the notion that seems to underlie it : if I don't dance, I am unappreciative and some kind of pariah. If it's really about the music OR the mix, then I should be left to appreciate it in a way which is genuine to myself and doesn't shipwreck someone else's enjoyment. .02. jeff At 08:09 AM 11/4/2002, Toby Frith wrote: >This is somewhat of a double-edged sword I think. In one respect, people go >to see a DJ like Mills so they can dance. In the other respect, they go to >watch his craft, which then takes the DJ out of his normal context and into >that of an artist, because you are viewing him/her rather than interacting. >(another argument which I'm not going to pontificate on here) So you get >one half of the audience dancing and the other just watching. This has been, >IMHO, the downfall of techno turntablism and the like in recent years. Too >much watching, not enough dancing. > >I went to see Mills in Zurich a year ago and there was far too much of the >latter going on. You could see him actually looking rather annoyed as one >absolute classic after another (Final Frontier, Magnese) was being dropped >only to see a leaden-footed and mute reaction from the crowd. How must a DJ >feel when they are faced by banks of motionless people looking at them spin >some records? Any views or opinions are solely those of the author and do not necessarily represent those of Channel Four Television Corporation unless specifically stated. This email and any files transmitted are confidential and intended solely for the use of the individual or entity to which they are addressed. If you have received this email in error, please notify [EMAIL PROTECTED]
RE: (313) Techno Pancakes
I concur with Potts, Sines made them for a group of us about a month ago and they were out of this freakin world !! The vegan hash browns were also really good. This is coming from a nyc food snob too ;) I'll see if todd wants to share his recipe. -pete -Original Message- From: diana potts [mailto:[EMAIL PROTECTED] Sent: Sunday, November 03, 2002 12:04 AM To: 313@hyperreal.org Subject: Re: (313) Techno Pancakes Hmmm, Kent it seems you're breakfast is stiff competition for the legendary vegan breakfast of Ed Luna and Todd Sines. ;) diana --- Dan Sicko <[EMAIL PROTECTED]> wrote: > I smell another Detroit Grand Pubas single coming on > ... > > On Saturday, November 2, 2002, at 04:57 PM, ::)) > wrote: > > > we should have a techno pancake panarama > > > > aphex twin could come and replace the sandpaper > discs in his set with > > well > > done pancakes > > > > and, I couple play a PA while being immersed in > pancake batter. > > > > plus, we could all light each other on fire. > > > > > > - Original Message - > > From: "Kent williams" <[EMAIL PROTECTED]> > > To: "sean deason" <[EMAIL PROTECTED]> > > Cc: "elkay" <[EMAIL PROTECTED]>; "[EMAIL PROTECTED] Org" > <313@hyperreal.org> > > Sent: Saturday, November 02, 2002 4:53 PM > > Subject: (313) Techno Pancakes > > > > > >> The pancakes, which have been consumed regularly > at my house by > >> party people from Mr. Deason to Stewart Walker to > the crazy Finns > >> Aavikko, > >> not to mention my wife, children and houseguests > not associated with > >> techno: > >> > >> 1 1/4 cups flour > >> 1/4 cup sugar > >> 2 teaspoons baking powder > >> 1/4 teaspoon salt > >> 1 Cup Buttermilk > >> 1/4 Cup vegetable oil > >> 1 Egg > >> > >> 1/4 to 1/2 cup Milk > >> > >> Basically mix it all up with a wire wisk, except > for the milk, then > >> mix > >> in milk until batter is midly runny. Batter too > thick == liquid > >> centers. > >> Best cooked on a flat iron griddle. Best served > with Maple and/or > >> Rasberry > >> Syrup. > >> > >> They seem to taste better when I make them hung > over after a party. > >> > >> On Wed, 30 Oct 2002, sean deason wrote: > >>> I just wanna chime in and give a big "two > thumbs up" to Kents > >>> pancakes > > :^) > >>> dude you should have a post party pancake > breakfast! I'd bet they'd > >>> sell > >>> likewell... hotcakes! ;^) > >>> > >>> what was that secret ingredient again? soylent > green? > >>> > >> > >> > > > > > __ Do you Yahoo!? HotJobs - Search new jobs daily now http://hotjobs.yahoo.com/
RE: (313) 100 BEST DJ IN THE WORLD (Mills)
At 09:37 AM 11/4/2002, Robert Taylor wrote: F*** ART, LET'S DANCE. I didn't get to the end of that piece I almost fell asleep trying to get to grips with its faux-intellectual weightiness. Don't be so pretentious ferchrisakes it's dance music! Thanks for making my case for me. jeff
RE: (313) 100 BEST DJ IN THE WORLD (Mills)
Quite the opposite, fella, you've just outed yourself as a pompous fool who can't pass a day without pondering the significance of his own belly-button and reaching for the thesaurus. -Original Message- From: Mxyzptlk [mailto:[EMAIL PROTECTED] Sent: Monday, November 04, 2002 4:51 PM To: Robert Taylor; 313 Detroit Subject: RE: (313) 100 BEST DJ IN THE WORLD (Mills) At 09:37 AM 11/4/2002, Robert Taylor wrote: >F*** ART, LET'S DANCE. I didn't get to the end of that piece I almost fell >asleep trying to get to grips with its faux-intellectual weightiness. >Don't be so pretentious ferchrisakes it's dance music! Thanks for making my case for me. jeff Any views or opinions are solely those of the author and do not necessarily represent those of Channel Four Television Corporation unless specifically stated. This email and any files transmitted are confidential and intended solely for the use of the individual or entity to which they are addressed. If you have received this email in error, please notify [EMAIL PROTECTED]
Re: (313) 100 BEST DJ IN THE WORLD (Mills)
> This is true, Toby. But, I must say that if Mills > didn't enjoy being watched, he could very well conceal > himself like Hawtin does at his plastic parties. So > this leads me to personally believe that Mills enjoys > the attention of people wtching his skills... mills has been leaving the stage and having a video of him playing instead and then coming back on at a cue in the film. apparently with the idea of holographic images of a dj in the future. check out the brilliant techno tourist interview.
RE: (313) 100 BEST DJ IN THE WORLD (Mills)
At 09:55 AM 11/4/2002, you wrote: Quite the opposite, fella, you've just outed yourself as a pompous fool who can't pass a day without pondering the significance of his own belly-button and reaching for the thesaurus. Or else you have doubly-demonstrated my case and your own insecurity. Go one back to the nap you were taking. You'll wake up when the hustle-line tramps over you. Let's be courteous - if you insist on a further show of dramatic irony, take it offlist. jeff
RE: (313) 100 BEST DJ IN THE WORLD (Mills)
OK OK ComicBookStoreGuy - I just found what you said absurd. If you feel awkward and shy at a club and are too shy to dance, just say so. Don't try and make yourself sound awfully clever and even more awkward by intellectualising it. -Original Message- From: Mxyzptlk [mailto:[EMAIL PROTECTED] Sent: Monday, November 04, 2002 5:10 PM To: Robert Taylor Cc: 313@hyperreal.org Subject: RE: (313) 100 BEST DJ IN THE WORLD (Mills) At 09:55 AM 11/4/2002, you wrote: >Quite the opposite, fella, you've just outed yourself as a pompous fool who >can't pass a day without pondering the significance of his own belly-button >and reaching for the thesaurus. Or else you have doubly-demonstrated my case and your own insecurity. Go one back to the nap you were taking. You'll wake up when the hustle-line tramps over you. Let's be courteous - if you insist on a further show of dramatic irony, take it offlist. jeff Any views or opinions are solely those of the author and do not necessarily represent those of Channel Four Television Corporation unless specifically stated. This email and any files transmitted are confidential and intended solely for the use of the individual or entity to which they are addressed. If you have received this email in error, please notify [EMAIL PROTECTED]
Re: (313) 100 BEST DJ IN THE WORLD (Mills)
please just take this off list mk02 - Original Message - From: "Robert Taylor" <[EMAIL PROTECTED]> To: "'Mxyzptlk'" <[EMAIL PROTECTED]>; "Robert Taylor" <[EMAIL PROTECTED]> Cc: <313@hyperreal.org> Sent: Monday, November 04, 2002 6:06 PM Subject: RE: (313) 100 BEST DJ IN THE WORLD (Mills) > OK OK ComicBookStoreGuy - I just found what you said absurd. If you feel > awkward and shy at a club and are too shy to dance, just say so. Don't try > and make yourself sound awfully clever and even more awkward by > intellectualising it. > > -Original Message- > From: Mxyzptlk [mailto:[EMAIL PROTECTED] > Sent: Monday, November 04, 2002 5:10 PM > To: Robert Taylor > Cc: 313@hyperreal.org > Subject: RE: (313) 100 BEST DJ IN THE WORLD (Mills) > > > At 09:55 AM 11/4/2002, you wrote: > >Quite the opposite, fella, you've just outed yourself as a pompous fool who > >can't pass a day without pondering the significance of his own belly-button > >and reaching for the thesaurus. > > Or else you have doubly-demonstrated my case and your own insecurity. > Go one back to the nap you were taking. You'll wake up when the hustle-line > tramps over you. > Let's be courteous - if you insist on a further show of dramatic irony, > take it offlist. > > jeff > > > Any views or opinions are solely those of the author and do not necessarily > represent those of Channel Four Television Corporation unless specifically > stated. This email and any files transmitted are confidential and intended > solely for the use of the individual or entity to which they are addressed. > If you have received this email in error, please notify > [EMAIL PROTECTED] > >
(313) to move or not to move.
Whoever coined the term "dance music" should be shot. ; ) That a certain kind of music makes _you_ want to dance Robert, doesn't necessarily mean that _every_body feels the same, has to dance to it. For example, All who know me know that I totally love to dance, and appreciate it when the music gets me going and I can lose myself on the dancefloor. But I can just as well spend the night at a club and hardly move a foot - just cos I don't feel like it. Or whatever the reason might be. In whatever mood I'm in, I don't expect others to feel the same way as I do - as long as they don't jump on my feet when I just feel like head-nodding, and don't get in my way when I wanna dance. It goes without saying that the same applies to myself. And I know that Jeff was not trying to be pretentious, it was simply his way of getting his point across innit. : ) Which he did really well imo. No need to jump on him like that. Ah fekk Mondays... Has anyone seen that there's a new Clicks'n'Cuts out on Mille Plateaux? What's it like? And Mike Shannon's album Slight Of Hand? Cheers, Anya *dancing home now* ; ) > From: Robert Taylor <[EMAIL PROTECTED]> > Date: Mon 04/Nov/2002 15:37 GMT > To: "'Mxyzptlk'" <[EMAIL PROTECTED]>, > Toby Frith ><[EMAIL PROTECTED]>, > Cyclone Wehner <[EMAIL PROTECTED]>, > 313 Detroit <313@hyperreal.org> > Subject: RE: (313) 100 BEST DJ IN THE WORLD (Mills) > > F*** ART, LET'S DANCE. I didn't get to the end of that piece I almost fell > asleep trying to get to grips with its faux-intellectual weightiness. > Don't be so pretentious ferchrisakes it's dance music! ___ Freeserve AnyTime, only £13.99 per month with one month's FREE trial! For more information visit http://www.freeserve.com/time/ or call free on 0800 970 8890
(313) Eddie fowlkes
Matthew Mangold: >He's probably overlooked because he's an a**hole. > I was at Record Time about four years ago asking a couple of DJs that > I had > seen in the store if they would be in town during the weekend of an > event I > was putting on. EFF overheard me talking about it and came over and > inquired > who I had on the lineup. When he discovered that two of the DJs > playing that > night were coming into town from Toronto, he had a fit, demanding that > my > whole lineup be Detroit locals. When I informed him that I wasn't > talking to > him, he put up his fists and asked me to come outside to duke it out. > > I have no respect for Eddie Fowlkes, have never purchased any of his > music > since the occasion, and will not attend any events he performs at. He > is an > immature, self-absorbed individual, who I have all to often heard > complain > that he does not get the recognition he deserves as a pioneer in the > electronic music community. IMHO, he is little more than a cry-baby. > > Matthew Hmmm. I wonder if knowing that he's a volatile character is a suffienct reason to not buy his records. Even if you like them? k
Re: (313) Eddie fowlkes
> > Hmmm. I wonder if knowing that he's a volatile > character is a suffienct > reason to not buy his records. Even if you like them? > > k I'd definitely say "yes" to answer that question chief. Contributing to the success of someone who challenged you to a duel is definitely a dumb thing to do... TJJ ~in a perfect world, nothing is perfect~ PeoplePC: It's for people. And it's just smart. http://www.peoplepc.com
(313) Tek Brothers
any comments on the new Tek Brothers CD. is it full lenght album or single cd? regards ivan --
Re: (313) 100 BEST DJ IN THE WORLD (Mills)
I had a feeling my 'sleep house' would get me into trouble. ;) I am just so frustrated that here in Australia house promoters want to book these new school house DJs who play so smooth you wanna bring a pillow and drink cocoa yet they don't wanna book great DJs from the US as they're not hip (well maybe West Coast). You just know that they were into Sasha, not Kevin Saunderson and Mayday, back in the day. They play great records (eg Classic) just very boringly. It's... nice. There's one particular don of sleep house from the UK but I don't wanna get in trouble. If you're getting that kinda response then you're not playing sleep house. Sleep house DJs don't mess with the EQs much or anything much like that, it's all about The Mix. It's not a performance, it's not innovative, it's just immaculately boring. I can't think of any 313 sleep housers. > From: "Jonny McIntosh" <[EMAIL PROTECTED]> > Subject: Re: (313) 100 BEST DJ IN THE WORLD (Mills) > Date: 05/11/2002 2:16:38 > To: "313 Detroit" <313@hyperreal.org> > > Personally, I like to get the dancers dancing and the 'spotters 'spotting: I > like having the whooping, screaming, yelling, jacking, climbing the walls > AND the googly eyed "what's he doing?!? What's that record?!" You don't have > to dance to recognise that it's a pretty similar achievement: everyone comes > away saying, damn he/she banged it out - *that's* what I'm after. > > As to how you do it, do it any way you want to. I used to do tricks far more > than I do now, I now never scratch beyond the odd second copy doubling up, > and I pretty much conform to Cyclone's "sleep house" school of DJing. I > certainly *wouldn't* say that the mix supercedes the records - quite the > opposite - and in any case, it's just something that I have observed works > better for the music I play. Some of the "sleep house" gang would say that > mixing it up in the Mills style is mix over content, but they'd be equally > wrong. It's horses for courses, and I suppose a good DJ will adapt > accordingly. In my case, it's certainly not lack of skill - I'm relying on > some charity here :) - nor is it some deeper than thou homage to the house > canon, it just works for me. Not to say there aren't style over content DJs, > but they're the *real* boring ones. > > All just IMHO.
RE: (313) 100 BEST DJ IN THE WORLD (Mills)
I recently listened to the shake mix on groovetech and was nicely impressed by the combination of farina-esque house grooves with doubling up and some nice skills - makes a nice change to hear good house mixed up in that style > -Original Message- > From: Cyclone Wehner [mailto:[EMAIL PROTECTED] > Sent: 04 November 2002 16:21 > To: 313 Detroit > Subject: Re: (313) 100 BEST DJ IN THE WORLD (Mills) > > > I had a feeling my 'sleep house' would get me into trouble. > > ;) > > I am just so frustrated that here in Australia house > promoters want to book > these new school house DJs who play so smooth you wanna bring > a pillow and > drink cocoa yet they don't wanna book great DJs from the US > as they're not > hip (well maybe West Coast). You just know that they were > into Sasha, not > Kevin Saunderson and Mayday, back in the day. They play great > records (eg > Classic) just very boringly. It's... nice. > > There's one particular don of sleep house from the UK but I > don't wanna get > in trouble. > > If you're getting that kinda response then you're not playing > sleep house. > > Sleep house DJs don't mess with the EQs much or anything much > like that, > it's all about The Mix. It's not a performance, it's not > innovative, it's > just immaculately boring. I can't think of any 313 sleep housers. > > > From: "Jonny McIntosh" <[EMAIL PROTECTED]> > > Subject: Re: (313) 100 BEST DJ IN THE WORLD (Mills) > > Date: 05/11/2002 2:16:38 > > To: "313 Detroit" <313@hyperreal.org> > > > > Personally, I like to get the dancers dancing and the > 'spotters 'spotting: I > > like having the whooping, screaming, yelling, jacking, > climbing the walls > > AND the googly eyed "what's he doing?!? What's that > record?!" You don't have > > to dance to recognise that it's a pretty similar > achievement: everyone comes > > away saying, damn he/she banged it out - *that's* what I'm after. > > > > As to how you do it, do it any way you want to. I used to > do tricks far more > > than I do now, I now never scratch beyond the odd second > copy doubling up, > > and I pretty much conform to Cyclone's "sleep house" school > of DJing. I > > certainly *wouldn't* say that the mix supercedes the > records - quite the > > opposite - and in any case, it's just something that I have > observed works > > better for the music I play. Some of the "sleep house" gang > would say that > > mixing it up in the Mills style is mix over content, but > they'd be equally > > wrong. It's horses for courses, and I suppose a good DJ will adapt > > accordingly. In my case, it's certainly not lack of skill - > I'm relying on > > some charity here :) - nor is it some deeper than thou > homage to the house > > canon, it just works for me. Not to say there aren't style > over content DJs, > > but they're the *real* boring ones. > > > > All just IMHO. > -- This message is intended only for the personal and confidential use of the designated recipient(s) named above. If you are not the intended recipient of this message you are hereby notified that any review, dissemination, distribution or copying of this message is strictly prohibited. This communication is for information purposes only and should not be regarded as an offer to sell or as a solicitation of an offer to buy any financial product, an official confirmation of any transaction, or as an official statement of Lehman Brothers. Email transmission cannot be guaranteed to be secure or error-free. Therefore, we do not represent that this information is complete or accurate and it should not be relied upon as such. All information is subject to change without notice.
(313) Frankie Knuckles Choice LP...
Does anyone know where I can get a copy of this.. Ive tried gemm, groovetech, back ordering from azuli, ebay and am all out of ideas :[ any suggestions muchos appreciated ! [ I think the last straw is gonna be buying a final scratch - all this record searching is wearing me down ! ] cheers, Marc -- This message is intended only for the personal and confidential use of the designated recipient(s) named above. If you are not the intended recipient of this message you are hereby notified that any review, dissemination, distribution or copying of this message is strictly prohibited. This communication is for information purposes only and should not be regarded as an offer to sell or as a solicitation of an offer to buy any financial product, an official confirmation of any transaction, or as an official statement of Lehman Brothers. Email transmission cannot be guaranteed to be secure or error-free. Therefore, we do not represent that this information is complete or accurate and it should not be relied upon as such. All information is subject to change without notice.
(313) Luciano and Dandy Jack sets online
http://www.paxahau.com/archives.htm --- Peter Grammenos Goldman Sachs & Co. Tel : 212.902.2446 ---
Re: (313) magic trax/ Fowlkes
- Original Message - From: "Jonny McIntosh" <[EMAIL PROTECTED]> To: "J. T." <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]> Cc: <313@hyperreal.org> Sent: Monday, November 04, 2002 11:23 AM Subject: Re: (313) magic trax/ Fowlkes > I've got the Tresor 12" of Magic Trax: it's got "Flash Flood", a Drexciya > track, "FFWD" and something else (maybe Blake Baxter?). What else is on the > bootleg? There are 8 tracks. All can be clarified between http://www.discogs.com/artist/Infiniti and http://www.tresorberlin.de (go into the store, click 'artists', then click 'a' for atkins, and then chose Juan Atkins). > I never realised that the Infiniti Collection came out on vinyl Well, this is what the Tresor store says anyway, but sounds like not many have seen it! It is just a 12" though (see below). From: "J. T." <[EMAIL PROTECTED]> > oh duh now i get it :P...the official release of magic tracks is normal > length (and loudness!) (sorry tristan!) and has ron's track! woohooo i'm > pumped ..wish it had the scan 7 track on there tho.. Well, this is what I hope (about the loudness)! Rather than cramming 8 tracks on one slab of vinyl, I'm assuming just the 4 on one 12" should hopefully make for a louder record (including the Ron Cook track according to http://www.discogs.com/artist/Infiniti): Tracklisting: A1 Infiniti - Flash Flood A2 Ron Cook - FFWD B1 Drexciya - Positron Island B2 Infiniti - Hardrive I am ordering it assuming that is right (and based on Jonny's info), although Tresor does not confirm in their shop. To clarify from last night, I just realised the Infiniti Collection vinyl is just one 12" with Game One, Moon Beam and I-94. I already have and really like this record. Sorry if I got your hopes up about a full 2x12", the Tresor site is a bit confusing. The Collection 12" and Magic Tracks 12" both seem to be in stock at the Tresor store. I just ordered Magic Tracks along with the 3mb feat. EFF 2x12" and they processed it, so here's hoping it's in stock! I'll letcha know offlist if not. Tristan = Text/Mixes: http://phonopsia.tripod.com Music: http://www.mp313.com Contact: [EMAIL PROTECTED] New Mix in mp3, 'Live in Iowa City' available for a short time from http://phonopsia.isoprax.com
Re: (313) Luciano and Dandy Jack sets online
so far this Dandy Jack set is _very_ nice. - Original Message - From: "Grammenos, Peter" <[EMAIL PROTECTED]> To: <313@hyperreal.org> Sent: Monday, November 04, 2002 11:46 AM Subject: (313) Luciano and Dandy Jack sets online > > http://www.paxahau.com/archives.htm
(313) [EMAIL PROTECTED]'s (ot)
WEEKLY INSTALLMENT 11/4 THIS MONDAY @ FORAN'S SOUNDS: DAN LUCAS ROB BARRETT DOCILE DJz 2.00 PINTS NO COVER WHAT ELSE IS THERE TO DO ON MONDAY? FORAN'S IRISH PUB 612 Woodward Ave. Detroit, MI 48207 313-961-3043
(313) stuff
don't sleep on the system 7 & derrick may 'mysterious traveller'. finally a great rhythm is rhythm album. the guitar is occasionally inappropriate, but when the rest of it is so good it hardly matters. techno as it should be, groovy, expressive, emotional, & funky. yep i like it. p
