(313) Equinox playlist 10-10-04
Well it's been a couple of months now, but the server at L'Electrique.com has finally been fixed allowing me to do a show. Download the archive from my site www.gerald-matrix.com/equinox.html ...if you're so inclined. Just ignore the comments I make about the sound dropping out for a bit - those were meant for listeners tuning into the live stream. :) Here's the playlist Artist - Title (Label) Metro Area - Miura (Environ) John Tejada - Morning Becomes (Palette) Jeff Mills - Time After Space (Music Man) Thomas Dolby - Submarines [Ricardo Villalobos mix] (Salz) Dialogue - Something (Morris/Audio) Mad Mike - Hi Tech Funk [Sonic Grits mix] (UR) Hot Butter - Popcorn (Collectables) Cybotron - Clear (Fantasy) I-f - Space Invaders Are Smoking Grass (Viewlexx) Rythim Is Rythim - Nude Photo (RS) Convextion - Convextion [mix 2] (Matrix) J Sienkiewicz - 7 (Recognition) Inner city - Share My Life [Chez D trent Mid Dub] (6x) Smith N Hack - Ultra-Range Sound Process (Smith N Hack) Surgeon - East Light EP A2 (Dynamic Tension) Section 2 - Arise (Dark House) Los Hermanos - Quetzal (UR) Conceiled Project - Definition of D EP A2 (Svek) John Tejada - Old Desire (Organised Noise) Titonton - Alleyways (2000 Black) Dan Curtin - Nexus [Common Factor Dirty mix] (Elypsia) Wall Of Voodoo - Ring of Fire [remix] (Index) Skinny Puppy - Sleeping Beast (Nettwerk) Cheers! G -- website: www.gerald-matrix.com event organiser writer - www.kickmagazine.ca host of 'equinox radio' on l'electrique @ www.netmusique.com member - P U SHER www.pusher.foundationmusic.com
Re: (313) Equinox playlist 10-10-04
That should be: http://www.gerald-matrix.com/equinox.htm Gerald wrote: Well it's been a couple of months now, but the server at L'Electrique.com has finally been fixed allowing me to do a show. Download the archive from my site www.gerald-matrix.com/equinox.html ...if you're so inclined. Just ignore the comments I make about the sound dropping out for a bit - those were meant for listeners tuning into the live stream. :) Here's the playlist Artist - Title (Label) Metro Area - Miura (Environ) John Tejada - Morning Becomes (Palette) Jeff Mills - Time After Space (Music Man) Thomas Dolby - Submarines [Ricardo Villalobos mix] (Salz) Dialogue - Something (Morris/Audio) Mad Mike - Hi Tech Funk [Sonic Grits mix] (UR) Hot Butter - Popcorn (Collectables) Cybotron - Clear (Fantasy) I-f - Space Invaders Are Smoking Grass (Viewlexx) Rythim Is Rythim - Nude Photo (RS) Convextion - Convextion [mix 2] (Matrix) J Sienkiewicz - 7 (Recognition) Inner city - Share My Life [Chez D trent Mid Dub] (6x) Smith N Hack - Ultra-Range Sound Process (Smith N Hack) Surgeon - East Light EP A2 (Dynamic Tension) Section 2 - Arise (Dark House) Los Hermanos - Quetzal (UR) Conceiled Project - Definition of D EP A2 (Svek) John Tejada - Old Desire (Organised Noise) Titonton - Alleyways (2000 Black) Dan Curtin - Nexus [Common Factor Dirty mix] (Elypsia) Wall Of Voodoo - Ring of Fire [remix] (Index) Skinny Puppy - Sleeping Beast (Nettwerk) Cheers! G -- website: www.gerald-matrix.com event organiser writer - www.kickmagazine.ca host of 'equinox radio' on l'electrique @ www.netmusique.com member - P U SHER www.pusher.foundationmusic.com
Re: (313) Metro Times: Detroit
maybe I misunderstand you, but its OK for mills to go on and on and on about what is basically 4/4 bangers, while hawtin (who IS innovating and changing sound through the years) is looked on as getting a bit too wanky? please correct me (respectfully) if I misunderstand you - Original Message - From: Tristan Watkins [EMAIL PROTECTED] To: 'SeanDeason C' [EMAIL PROTECTED]; 'fwdthought' [EMAIL PROTECTED]; 313@hyperreal.org Sent: Thursday, November 11, 2004 3:57 PM Subject: RE: (313) Metro Times: Detroit -Original Message- From: SeanDeason C [mailto:[EMAIL PROTECTED] Sent: 11 November 2004 02:09 To: fwdthought; 313@hyperreal.org Subject: (313) Metro Times: Detroit http://www.metrotimes.com/editorial/story.asp?id=6949 see huge Hawtin cover story. discuss. Hawtin recommends the tunfisch a l'nero or the wildschweinpfeffer, orders bottles of an appropriate cabernet, and rapidly begins to choose thoughts from another palette, this one sonic. He talks to Neumann about making music that, if it's done right, is devoid of directed thinking, entirely driven by impulses that can't be explained, then set free into the unknown. And then what? Richie Hawtin disappears? It's kind of like that, Hawtin says. There's no me there anymore. It's not important for me to control anything. There's nothing conscious about it. There's no ego in it. He closes his eyes and allows free play to make the picture clearer. In Detroit you just play; you turn your mind off and play. Interesting words, especially when they come from a man whose last series of Detroit-based parties was known as Control. This stuff interests me, but I don't like that the aritcle makes it sound like a new groundbreaking thought, or that all DJs don't experience this in some degree, or producers (likely) even more so. It's this *immersion* that has always appealed most to me about both activities. If you follow Sartre (who I think probed this best), he'd say it's pre-reflective consciousness, and that this is what actually defines us objectively, rather than our ego. In other, much simpler terms, I like to think of it like being 'in the zone' when playing a sport, writing code, knitting, meditating or whatever. People achieve this egoless state through lots of different means, and the idea is anything but new. There's a Derek Jarman movie on Michaelangelo de Caravaggio (http://www.imdb.com/title/tt0090798/, called Caravaggio oddly enough) that has a chunk of it devoted to the painting where a lizard is biting his hand with the paint brush, which is meant to symbolise the moment when he steps back from the canvas, shifting from immersive to specular. I'm sure that anyone who has spent 3 or 4 hours in front of their gear or a computer working on a track knows this feeling, when your mind shifts into 'critical listener mode' rather than creator. It's not like Hawtin has discovered an enlightened mode of being or anything, he's just found something he can focus on. Given that this is the starting point for the artistic angle of this article, it feels way too overblown. Why the need for the added significance? Can't good music just be good music without dressing it up? It seems to me this article is a prime example of why throwing out lofty ideas in journalism is generally a bad idea. I mean, does anyone who's actually read Hegel think the paragraph on him in this article is that compelling, completely removed from the history of philosophy, and does anyone who hasn't read him give a sh*t? Tristan === http://www.phonopsia.co.uk [EMAIL PROTECTED]
Re: (313) TONIGHT in D-TOWN
[known as Detroit's Rich Medina] Is Rich Medina's style really that distinct? The sets I've heard seem like an interesting blend of soul, house and r+b mixed well together, but nothing that a ton of local jocks aren't doing in most cities.
Re: (313) Metro Times: Detroit
-- Original Message -- From: /0 [EMAIL PROTECTED] maybe I misunderstand you, but its OK for mills to go on and on and on about what is basically 4/4 bangers, while hawtin (who IS innovating and changing sound through the years) is looked on as getting a bit too wanky? well, he sure is changing. if you call it innovation, i guess thats a judgement call. i call it devolution. tom andythepooh.com
RE: (313) Scorpio (was RE: (313) These Go up to 11)
To view the terms under which this email is distributed, please go to http://disclaimer.leedsmet.ac.uk/email.htm Anyone catch a listen to the Plaid remix of Scorpio from their compilation. It sounds tough, sheets of electro bass busting the speaker. The tension just builds and builds. I've heard it at 20. My amp goes to 30. It weights a ton. Rav -Original Message- From: Robert Taylor [mailto:[EMAIL PROTECTED] Sent: 11 November 2004 19:25 To: Brendan Nelson; 313@hyperreal.org Subject: RE: (313) Scorpio (was RE: (313) These Go up to 11) Of course, Duran Duran did a better job of it. ;) -Original Message- From: Brendan Nelson [mailto:[EMAIL PROTECTED] Sent: Thursday, November 11, 2004 7:15 PM To: 313@hyperreal.org Subject: (313) Scorpio (was RE: (313) These Go up to 11) -Original Message- From: Thomas D. Cox, Jr. [mailto:[EMAIL PROTECTED] Sent: 11 November 2004 19:23 Also, there's Scorpio by Grandmaster Flash and the Furious Five. A track that sounds like it was created in a semi-legal funk research laboratory, way ahead of its time and devastating when loud. that track is so excellent. did it ever come out on 12? This is the piece of vinyl you want... http://www.discogs.com/release/125360 Strange to think that the A side track is so much more high- profile than Scorpio - it's pretty overrated, in my opinion. Brendan # Note: 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] Thank You. #
RE: (313) Juan Atkins
Glad you like Paul!!! Thats a pretty strong compliment there!! Hey - send me that track... (and tell me about the warehouse) : ) placid [EMAIL PROTECTED] To: [EMAIL PROTECTED], 313@hyperreal.org uk cc: Subject: RE: (313) Juan Atkins 11/11/2004 22:07 This ep ranks along side model 500 on transmat..may even be better... time will tell Thnks senor Bond... -Original Message- From: Tristan Watkins [mailto:[EMAIL PROTECTED] Sent: 11 November 2004 22:05 To: [EMAIL PROTECTED]; 313@hyperreal.org Subject: RE: (313) Juan Atkins -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 11 November 2004 11:20 To: 313@hyperreal.org Subject: Re: (313) Juan Atkins Hello List. Back to work. Great. Anyway, BT wrote: Just noticed that Piccadilly have samples up for the new Juan Atkins - Fast Forward EP on New Religion. I assume this is the one that Mr Bond has been dropping hints about for a while (Alex?). It sounds incredible, cant wait to pick up a copy this week (Jason - you guys got this is stock?) Yes! This is the one I've been banging on about! Check check check! It's 4 tracks of brilliant detroit techno. Can't see what there is not to like about it! I love it anyway. BT, I reckon Rubadub should have it, they're distributing it. OUT NOW! BUY ONE, SAVE MY SORRY ASS Just giving it the first proper listen, and am pretty stunned. It's wicked. Each of the four tracks as good as the last. I'm sure a favourite will emerge, but at the moment they're all sounding great to my ears. I was pretty hyped about all the recent stuff (less so the one on Metroplex than the others), but this blows them away. Jason, I bet you really like this. Lots of pitch slides done well. And I know how you like your slides. ;) Tristan === http://www.phonopsia.co.uk [EMAIL PROTECTED] _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers LLP. PricewaterhouseCoopers LLP may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring.
Re: (313) Metro Times: Detroit
On Fri Nov 12 5:13 , '/0' [EMAIL PROTECTED] sent: maybe I misunderstand you, but its OK for mills to go on and on and on about what is basically 4/4 bangers, while hawtin (who IS innovating and changing sound through the years) is looked on as getting a bit too wanky? please correct me (respectfully) if I misunderstand you Well, I never said anything about Mills, but I'd level the same criticism if he was saying that what he does achieves something grand, rather than saying that he achieves inspiration from grand ideas. And for the record, I wasn't so much having a go at Hawtin as the author of the article. who seemed to want to make it all seem earth-shattering. On Fri Nov 12 5:13 , '/0' [EMAIL PROTECTED] sent: maybe I misunderstand you, but its OK for mills to go on and on and on about what is basically 4/4 bangers, while hawtin (who IS innovating and changing sound through the years) is looked on as getting a bit too wanky? please correct me (respectfully) if I misunderstand you Well, I never said anything about Mills, but I'd level the same criticism if he was saying that what he does achieves something grand, rather than saying that he achieves inspiration from grand ideas (which is generally how I read his pontifications). And for the record, I wasn't so much having a go at Hawtin as the author of the article, who seemed to want to make it all earth-shattering (although I do think Hawtin has a tendency to get caught up in philosophical flavours of the month, from what I can glean from interviews). And this is not to say there isn't significance to the events we witness in a club, nor that some projects can't achieve lofty aspirations, but I don't like the idea that we need to intellectualise music in order to give it *extra* importance. Music *is* very important, but it doesn't need the window-dressing to make it more than what we experience in the immediate, in 99.99% of the cases. Tristan
(313) Friday treat for the balearic heads
1) Sorry about that last post, it was supposed to be a private one OK, on with the post: One of my favourite mixes of the year came from this site, and it was Harvey, live in San Diego. Beautiful trippy downtempo s**t. Really blissed out. Just a cd that always put me in a good mood. Today there's a new one! So, I'm happy. If it's even half as good as the last one, I recommend it. You can grab it here: www.loungecandelas-sd.com/Harvey_101604_Pt_1/Harvey_101604.mp3 www.loungecandelas-sd.com/Harvey_101604_Pt_2/Harvey_101604_Part_2.mp3 And, also, I think I have Harvey to thank for really getting me into the latest Kraftwerk LP. I got the LP when it came out, listened a few times and didn't pick it up again. But, that last Harvey mix from San Diego had the track Vitamin, and I've hardly stopped listening to it, so I went back to the LP and found it a whole different experience. That track Vitamin is definitely in my techno top 5 for this year. It's awesome. The production, the little subtle melodies. It's the bomb. Alex _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers LLP. PricewaterhouseCoopers LLP may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring.
RE: (313) Friday treat for the balearic heads
Cheers for that link Alex - my Friday is now a happier one. Not 313 either but lots of fantastic music here: http://www.sixmillionsteps.com/ -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Friday, November 12, 2004 10:04 AM To: 313@hyperreal.org Subject: (313) Friday treat for the balearic heads 1) Sorry about that last post, it was supposed to be a private one OK, on with the post: One of my favourite mixes of the year came from this site, and it was Harvey, live in San Diego. Beautiful trippy downtempo s**t. Really blissed out. Just a cd that always put me in a good mood. Today there's a new one! So, I'm happy. If it's even half as good as the last one, I recommend it. You can grab it here: www.loungecandelas-sd.com/Harvey_101604_Pt_1/Harvey_101604.mp3 www.loungecandelas-sd.com/Harvey_101604_Pt_2/Harvey_101604_Part_2.mp3 And, also, I think I have Harvey to thank for really getting me into the latest Kraftwerk LP. I got the LP when it came out, listened a few times and didn't pick it up again. But, that last Harvey mix from San Diego had the track Vitamin, and I've hardly stopped listening to it, so I went back to the LP and found it a whole different experience. That track Vitamin is definitely in my techno top 5 for this year. It's awesome. The production, the little subtle melodies. It's the bomb. Alex _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers LLP. PricewaterhouseCoopers LLP may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring. # Note: 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] Thank You. #
(313) Respect
Wotcha list... It's John Peel's funeral today, tip him a nod and play something loud Martin
RE: (313) Scorpio (was RE: (313) These Go up to 11)
wouldnt you rather just listen to the liquid liquid track instead? White lines is just a good sing-a-long tune!
RE: (313) These Go up to 11
Time to get your hands on the Spinal Tap DVD... Gwendal -Message d'origine- De : [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Envoyé : Thursday, November 11, 2004 6:05 PM À : 313@hyperreal.org Objet : RE: (313) These Go up to 11 I want to join in, but my stereo volume only goes up to 10. What should I do? seek help? Alex _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers LLP. PricewaterhouseCoopers LLP may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring.
Re: (313) Respect
Wotcha list... Hello Martin It's John Peel's funeral today, tip him a nod and play something loud Can't play anything loud, but I've took my hat off. A sad day. RIP Mr Peel. You'll be sorely missed. I can't think of anyone that made a greater contribution to independent music in this country. On another note, I was reading on a forum about replacements for John Peel. Rob Da Bank is standing in for now. Of course, you could never replace Mr Peel, and shouldn't try to, but someone said How about Andrew Weatherall. What a call. I'd be hard pushed to think of anyone better. Alex _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers LLP. PricewaterhouseCoopers LLP may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring.
RE: (313) These Go up to 11
Yeah, love that Sabres track as well, maybe I prefer Inter-Lergen though.. Re, Orbital, I guess you're talking about the Belfast/Wasted mix that's something like 10 minutes long ? Gwendal -Message d'origine- De : KiDD*e* [mailto:[EMAIL PROTECTED] Envoyé : Wednesday, November 10, 2004 6:30 PM À : ThReE-oNe-ThReE Objet : RE: (313) These Go up to 11 Olala, i looove this one... It used to be our track ...me and my girlfriend. Its a whole fairy world, so magic. The kind of track that inevitably bring tears to my eyes. My choice would be : Orbital - Midnight, followed by Belfast. - KiDDy. - Original Message - From: [EMAIL PROTECTED] To: Matt Kane [EMAIL PROTECTED]; Martin Dust [EMAIL PROTECTED]; 313 (E-mail) 313@hyperreal.org Sent: Wednesday, November 10, 2004 5:12 PM Subject: RE: (313) These Go up to 11 but my all time fav I guess is Sabres of Paradise - Smokebelch II
(313) Ableton Live / Computer Help
Hi Folks. Sorry to ask this here. I honestly don't know who else to ask. And you're a very knowledgeable bunch. So, first off a confession. (I don't feel good about this btw, I know it's wrong) I have been using a copy of Ableton Live for the past 6 months. Let me just defend myself. A friend gave me a copy, basically a try before you buy type deal as I was getting my new computer soon, and didn't want to have to buy another copy. Obviously I've got right into it. My new computer has arrived, and I'm keeping it just for music, can't put it on the internet cos I dont what I'm doing and I'll probably get a virus or something. I'm transferring my 300 odd WAV files over. I went to the music shop the other day to talk to the guy about buying Ableton 4. £269.99! I don't mind paying it at all, it's just I simply don't have it at the minute. I'm going to sell records at the end of the month and put some towards it out of my wages. Basically, I have 2 gigs I'd like to use it for before I get paid. The guy in the shop gave me a demo disc, and this version allows you to do most things, but not save anything. I don't really need to save anything. Do you think I'll be OK to use the demo version for a gig? Is that wise do you think? Will it crash or something? Is there any other way round it?I won't need to save anything for the gig I wouldn't have thought would I? I tend to do most things 'on the fly' with it anyway. What do you think? Any help and advice would be much appreciated. Alex _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers LLP. PricewaterhouseCoopers LLP may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring.
Re: (313) Ableton Live / Computer Help
ermmm NO - because you can't like save - unless you are planning to turn up early and beat match and set your settell me if you are Alex I'd like to watch On 12 Nov 2004, at 13:56, [EMAIL PROTECTED] wrote: Hi Folks. Sorry to ask this here. I honestly don't know who else to ask. And you're a very knowledgeable bunch. So, first off a confession. (I don't feel good about this btw, I know it's wrong) I have been using a copy of Ableton Live for the past 6 months. Let me just defend myself. A friend gave me a copy, basically a try before you buy type deal as I was getting my new computer soon, and didn't want to have to buy another copy. Obviously I've got right into it. My new computer has arrived, and I'm keeping it just for music, can't put it on the internet cos I dont what I'm doing and I'll probably get a virus or something. I'm transferring my 300 odd WAV files over. I went to the music shop the other day to talk to the guy about buying Ableton 4. £269.99! I don't mind paying it at all, it's just I simply don't have it at the minute. I'm going to sell records at the end of the month and put some towards it out of my wages. Basically, I have 2 gigs I'd like to use it for before I get paid. The guy in the shop gave me a demo disc, and this version allows you to do most things, but not save anything. I don't really need to save anything. Do you think I'll be OK to use the demo version for a gig? Is that wise do you think? Will it crash or something? Is there any other way round it?I won't need to save anything for the gig I wouldn't have thought would I? I tend to do most things 'on the fly' with it anyway. What do you think? Any help and advice would be much appreciated. Alex _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers LLP. PricewaterhouseCoopers LLP may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring.
RE: (313) Ableton Live / Computer Help
Hmmm... if Alex already has all the meta-files (the .asd ones with the same names as the .wav files), then that's not an issue. I recently had the demo of Ableton 4 and was using my WAV collection with no problems. (I bought it after ten minutes - it's a huge leap forward from 3. But wasn't so pricey for me as I was just upgrading) However, if you're planning to warp new WAVs and save the meta-files using the demo version then you might be on shaky ground. I don't think I've warped WAV files in demo versions of Ableton before. The main thing is that you don't need to save Ableton files (the .als ones) to preserve the warping information for WAVs. Warping information for WAVs is contained in the .asd files, which can be read by any version of Ableton, whether 3 or 4. Alex, do you already have all the WAVs that you're going to use in your set? Brendan -Original Message- From: Martin Dust [mailto:[EMAIL PROTECTED] Sent: 12 November 2004 14:01 To: [EMAIL PROTECTED] Cc: 313@hyperreal.org Subject: Re: (313) Ableton Live / Computer Help ermmm NO - because you can't like save - unless you are planning to turn up early and beat match and set your settell me if you are Alex I'd like to watch On 12 Nov 2004, at 13:56, [EMAIL PROTECTED] wrote: Hi Folks. Sorry to ask this here. I honestly don't know who else to ask. And you're a very knowledgeable bunch. So, first off a confession. (I don't feel good about this btw, I know it's wrong) I have been using a copy of Ableton Live for the past 6 months. Let me just defend myself. A friend gave me a copy, basically a try before you buy type deal as I was getting my new computer soon, and didn't want to have to buy another copy. Obviously I've got right into it. My new computer has arrived, and I'm keeping it just for music, can't put it on the internet cos I dont what I'm doing and I'll probably get a virus or something. I'm transferring my 300 odd WAV files over. I went to the music shop the other day to talk to the guy about buying Ableton 4. £269.99! I don't mind paying it at all, it's just I simply don't have it at the minute. I'm going to sell records at the end of the month and put some towards it out of my wages. Basically, I have 2 gigs I'd like to use it for before I get paid. The guy in the shop gave me a demo disc, and this version allows you to do most things, but not save anything. I don't really need to save anything. Do you think I'll be OK to use the demo version for a gig? Is that wise do you think? Will it crash or something? Is there any other way round it?I won't need to save anything for the gig I wouldn't have thought would I? I tend to do most things 'on the fly' with it anyway. What do you think? Any help and advice would be much appreciated. Alex _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers LLP. PricewaterhouseCoopers LLP may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring.
Re: (313) Ableton Live / Computer Help
unless of course you have all the .asd files with all the warping set from your previous 'trial' version On Fri, 12 Nov 2004 14:00:52 +, Martin Dust [EMAIL PROTECTED] wrote: ermmm NO - because you can't like save - unless you are planning to turn up early and beat match and set your settell me if you are Alex I'd like to watch On 12 Nov 2004, at 13:56, [EMAIL PROTECTED] wrote: Hi Folks. Sorry to ask this here. I honestly don't know who else to ask. And you're a very knowledgeable bunch. So, first off a confession. (I don't feel good about this btw, I know it's wrong) I have been using a copy of Ableton Live for the past 6 months. Let me just defend myself. A friend gave me a copy, basically a try before you buy type deal as I was getting my new computer soon, and didn't want to have to buy another copy. Obviously I've got right into it. My new computer has arrived, and I'm keeping it just for music, can't put it on the internet cos I dont what I'm doing and I'll probably get a virus or something. I'm transferring my 300 odd WAV files over. I went to the music shop the other day to talk to the guy about buying Ableton 4. £269.99! I don't mind paying it at all, it's just I simply don't have it at the minute. I'm going to sell records at the end of the month and put some towards it out of my wages. Basically, I have 2 gigs I'd like to use it for before I get paid. The guy in the shop gave me a demo disc, and this version allows you to do most things, but not save anything. I don't really need to save anything. Do you think I'll be OK to use the demo version for a gig? Is that wise do you think? Will it crash or something? Is there any other way round it?I won't need to save anything for the gig I wouldn't have thought would I? I tend to do most things 'on the fly' with it anyway. What do you think? Any help and advice would be much appreciated. Alex _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers LLP. PricewaterhouseCoopers LLP may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring.
(313) Late night Session Vol 1
Did this very late last night... the levels are all over the shop, the mixing disappears into non existance with fading in and out taking over .. it's recorded too low but hey..i like it..it has a kind of san francisco meets detroit with abit of acid thrown in for good measureeverything is recently acquired some of it old some new... enjoy http://www.acidmixes.com mail me for track id's should anyone decide to take it upon themselves to d/l it...
Re: (313) Ableton Live / Computer Help
ermmm NO - because you can't like save - unless you are planning to turn up early and beat match and set your settell me if you are Alex I'd like to watch Yeah, but you can use files that are already marked down right? I always start with a blank screen. Only things that are saved are the warp markers, and occasionally some loops, but I usually do most of the loops on the fly too. And I don't ever save anything, so... So, what would I need to save I guess is my question? God, I hope I can find something to make it work. Any other ideas? Any other possible way round it all? Alex _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers LLP. PricewaterhouseCoopers LLP may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring.
Re: (313) Ableton Live / Computer Help
you might want to record it all to the timeline so that you have the raw stuff for tweaking and rendering later maybe... On Fri, 12 Nov 2004 14:09:45 +, [EMAIL PROTECTED] [EMAIL PROTECTED] wrote: ermmm NO - because you can't like save - unless you are planning to turn up early and beat match and set your settell me if you are Alex I'd like to watch Yeah, but you can use files that are already marked down right? I always start with a blank screen. Only things that are saved are the warp markers, and occasionally some loops, but I usually do most of the loops on the fly too. And I don't ever save anything, so... So, what would I need to save I guess is my question? God, I hope I can find something to make it work. Any other ideas? Any other possible way round it all? Alex _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers LLP. PricewaterhouseCoopers LLP may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring.
Re: (313) Respect
In recent years, Radio 1's policy when changing an important show has been to hire a temporary stooge to stand in. They take the heat for a month or two and then the saviour is brought in. DJ Da Bank to fill John Peel slot http://news.bbc.co.uk/1/hi/entertainment/tv_and_radio/3992703.stm Peel's production staff remain, so some of the music policy is retained. Although time will tell if Rob Da Bank stays. Let's have a minute's noise in memory of John Peel. carl morris Plug Two t +442920190151 [EMAIL PROTECTED] wrote: Wotcha list... Hello Martin It's John Peel's funeral today, tip him a nod and play something loud Can't play anything loud, but I've took my hat off. A sad day. RIP Mr Peel. You'll be sorely missed. I can't think of anyone that made a greater contribution to independent music in this country. On another note, I was reading on a forum about replacements for John Peel. Rob Da Bank is standing in for now. Of course, you could never replace Mr Peel, and shouldn't try to, but someone said How about Andrew Weatherall. What a call. I'd be hard pushed to think of anyone better. Alex
RE: (313) Cristian Vogel vs. Detroit
yup - he's even been seen on stage with the Chicks (and it wasn't too good), something like 15 months ago. Gwendal -Message d'origine- De : [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Envoyé : Wednesday, November 10, 2004 10:45 PM À : '313' Objet : (313) Cristian Vogel vs. Detroit Okay, So I kind of slept on Super Conductor originally and for some reason have decided to give their albums another listen, and... actually that stuff totally blows me away! It's amazing... So I was thinking, what would be really really hot, would be if Cristian Vogel produced: 1. An Amp Fiddler album 2. A Prince album 3. Something with Blake Baxter talking on the top What does everyone think? I guess he is producing (or already did) the new Chicks on Speed as well, which sounds like it could be very interesting. Maybe this is already out on promo? ~David
RE: (313) Ableton Live / Computer Help
-Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 12 November 2004 14:10 So, what would I need to save I guess is my question? Apart from when I use it to do re-edits or new tracks, the only times I save things in Ableton is when I want to set up a blank screen which has loads of keyboard and MIDI shortcuts programmed into it. I won't go into depth about how I've got it set up, but pretty much every key on the keyboard has some sort of function (unmute Send 1, play clip B3, etc etc) so that it can be controlled without using the mouse. But a lot of the time I just start with a blank screen myself and just set that stuff up as I go. You *can* use it with files you've already marked/warped up, so no worries there! It *might* be tricky if you want to mark/warp new files with that demo version, but if all your tracks are already done then I reckon you'll be OK. Brendan
Re: (313) Ableton Live / Computer Help
At 08:56 AM 11/12/2004, [EMAIL PROTECTED] wrote: Do you think I'll be OK to use the demo version for a gig? ableton actually recommends that you carry the demo version on CD with you to gigs. it's fully functional so if your computer craps out you can use someone else's and not have to worry about getting a new license. obviously, the only thing you can't do is save -- Matt Kane [EMAIL PROTECTED]
RE: (313) Equinox playlist 10-10-04
I suck... sorry! :) Thanks David! Enjoy G -Original Message- From: David Gillies [mailto:[EMAIL PROTECTED] Sent: Thursday, November 11, 2004 11:10 PM To: Gerald Cc: '313' Subject: Re: (313) Equinox playlist 10-10-04 That should be: http://www.gerald-matrix.com/equinox.htm Gerald wrote: Well it's been a couple of months now, but the server at L'Electrique.com has finally been fixed allowing me to do a show. Download the archive from my site www.gerald-matrix.com/equinox.html ...if you're so inclined. Just ignore the comments I make about the sound dropping out for a bit - those were meant for listeners tuning into the live stream. :) Here's the playlist Artist - Title (Label) Metro Area - Miura (Environ) John Tejada - Morning Becomes (Palette) Jeff Mills - Time After Space (Music Man) Thomas Dolby - Submarines [Ricardo Villalobos mix] (Salz) Dialogue - Something (Morris/Audio) Mad Mike - Hi Tech Funk [Sonic Grits mix] (UR) Hot Butter - Popcorn (Collectables) Cybotron - Clear (Fantasy) I-f - Space Invaders Are Smoking Grass (Viewlexx) Rythim Is Rythim - Nude Photo (RS) Convextion - Convextion [mix 2] (Matrix) J Sienkiewicz - 7 (Recognition) Inner city - Share My Life [Chez D trent Mid Dub] (6x) Smith N Hack - Ultra-Range Sound Process (Smith N Hack) Surgeon - East Light EP A2 (Dynamic Tension) Section 2 - Arise (Dark House) Los Hermanos - Quetzal (UR) Conceiled Project - Definition of D EP A2 (Svek) John Tejada - Old Desire (Organised Noise) Titonton - Alleyways (2000 Black) Dan Curtin - Nexus [Common Factor Dirty mix] (Elypsia) Wall Of Voodoo - Ring of Fire [remix] (Index) Skinny Puppy - Sleeping Beast (Nettwerk) Cheers! G -- website: www.gerald-matrix.com event organiser writer - www.kickmagazine.ca host of 'equinox radio' on l'electrique @ www.netmusique.com member - P U SHER www.pusher.foundationmusic.com
RE: (313) Ableton Live / Computer Help
Brilliant. Huge Thanks Folks. So, just so I have this right. I already have my wavs and asd's, so there shouldn't be any other problems right? And, I'd forgotten about this before - but I'm going to have to map all my midi and keys on the night, and do my settings there and then as I won't be able to set my preferences right? eek. that the only thing? Thanks Alex p.s. If there's anyone from ableton reading this, I do feel genuine guilt over using a copy for a little while. But you got a new customer out of it anyway. Every cloud has a silver lining. _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers LLP. PricewaterhouseCoopers LLP may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring.
Re: (313) Ableton Live / Computer Help
ableton actually recommends that you carry the demo version on CD with you to gigs. Matt, that's EXACTLY what I wanted to hear! Thanks Alex _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers LLP. PricewaterhouseCoopers LLP may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring.
Re: (313) Ableton Live / Computer Help
Heh. I'm just transferring my files across to a hard disk. There's stuff I have that I forgot was on there. Just found one BBC Sound Effects - Tardis Taking off, b/w Tardis Landing heh heh heh heh heh heh. *evil laugh* _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers LLP. PricewaterhouseCoopers LLP may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring.
Re: Re: (313) These Go up to 11
the top 3 of today: 1. mmm - donna 2. fix - flash 3. robert hood - rhythm of vision
(313) environ release.
I just wanna say yeah, for the new Kelley Polar Quartet EP. gorgeous and sublime string work. funky too. I spent a good 45min coloring with my 5yr old son while we listened to the rococo EP. highly recommended. Cheers, lee r. herrington u store it technical support specialist 440-260-2245
Re: (313) environ release.
-- Original Message -- From: lee herrington [EMAIL PROTECTED] I just wanna say yeah, for the new Kelley Polar Quartet EP. gorgeous and sublime string work. funky too. I spent a good 45min coloring with my 5yr old son while we listened to the rococo EP. highly recommended. the b side is definitely in my top 3 techno tracks for the year. it doesnt really sound like anything else i have or anything else ive heard. its superminimal with just a beat and strings. f*cking brilliant, IMO. after listening to it a couple times, i find the a side to be almost boring in comparison. but just for the b-side id call this a must have record. tom andythepooh.com
RE: (313) Cristian Vogel vs. Detroit
From the live clips I heard of Chicks on Speed, they should stick with making records as the sound was a little sketchy... So hopefully the album is good, regardless of what you heard at that time! ~David -- Original Message - Subject: RE: (313) Cristian Vogel vs. Detroit Date: Fri, 12 Nov 2004 08:14:41 -0600 From: Cobert, Gwendal [EMAIL PROTECTED] To: 313 313@hyperreal.org yup - he's even been seen on stage with the Chicks (and it wasn't too good), something like 15 months ago. Gwendal -Message d'origine- De : [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Envoyé : Wednesday, November 10, 2004 10:45 PM À : '313' Objet : (313) Cristian Vogel vs. Detroit Okay, So I kind of slept on Super Conductor originally and for some reason have decided to give their albums another listen, and... actually that stuff totally blows me away! It's amazing... So I was thinking, what would be really really hot, would be if Cristian Vogel produced: 1. An Amp Fiddler album 2. A Prince album 3. Something with Blake Baxter talking on the top What does everyone think? I guess he is producing (or already did) the new Chicks on Speed as well, which sounds like it could be very interesting. Maybe this is already out on promo? ~David
RE: (313) Ableton Live / Computer Help
On a side note, when I pull in tracks that I've already warped in other sets, the warp markers don't seem to show up, and I still have to rewarp them. Am I doing something wrong? Usually the way I do it is copy the .wav and .asd file into the directory I use for the set, and Ableton shows a symbol that seems to imply it recognizes the .asd file, but when I pull it in - no warp. It's not a big deal but it means I DO have to save the sets with the clips I plan to use, so that I have a seperate house and techno set right now. Obviously, it would be much more flexible to start with a blank interface and pull in any clips I want for a set out of a library of warped clips. I do something similar to Brendan also, saving keystrokes as well as Midi slider and knob functions for mixing. ~David -- Original Message - Subject: RE: (313) Ableton Live / Computer Help Date: Fri, 12 Nov 2004 14:18:29 - From: Brendan Nelson [EMAIL PROTECTED] To: [EMAIL PROTECTED], 313@hyperreal.org -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 12 November 2004 14:10 So, what would I need to save I guess is my question? Apart from when I use it to do re-edits or new tracks, the only times I save things in Ableton is when I want to set up a blank screen which has loads of keyboard and MIDI shortcuts programmed into it. I won't go into depth about how I've got it set up, but pretty much every key on the keyboard has some sort of function (unmute Send 1, play clip B3, etc etc) so that it can be controlled without using the mouse. But a lot of the time I just start with a blank screen myself and just set that stuff up as I go. You *can* use it with files you've already marked/warped up, so no worries there! It *might* be tricky if you want to mark/warp new files with that demo version, but if all your tracks are already done then I reckon you'll be OK. Brendan
Re: (313) Ableton Live / Computer Help
you have to click on the little save button hidden in the sample panel with all the buttons which save the warp markers to the asd otherwise i believe it only saves the waveform representation On Fri, 12 Nov 2004 15:42:59 -, [EMAIL PROTECTED] [EMAIL PROTECTED] wrote: On a side note, when I pull in tracks that I've already warped in other sets, the warp markers don't seem to show up, and I still have to rewarp them. Am I doing something wrong? Usually the way I do it is copy the .wav and .asd file into the directory I use for the set, and Ableton shows a symbol that seems to imply it recognizes the .asd file, but when I pull it in - no warp. It's not a big deal but it means I DO have to save the sets with the clips I plan to use, so that I have a seperate house and techno set right now. Obviously, it would be much more flexible to start with a blank interface and pull in any clips I want for a set out of a library of warped clips. I do something similar to Brendan also, saving keystrokes as well as Midi slider and knob functions for mixing. ~David -- Original Message - Subject: RE: (313) Ableton Live / Computer Help Date: Fri, 12 Nov 2004 14:18:29 - From: Brendan Nelson [EMAIL PROTECTED] To: [EMAIL PROTECTED], 313@hyperreal.org -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 12 November 2004 14:10 So, what would I need to save I guess is my question? Apart from when I use it to do re-edits or new tracks, the only times I save things in Ableton is when I want to set up a blank screen which has loads of keyboard and MIDI shortcuts programmed into it. I won't go into depth about how I've got it set up, but pretty much every key on the keyboard has some sort of function (unmute Send 1, play clip B3, etc etc) so that it can be controlled without using the mouse. But a lot of the time I just start with a blank screen myself and just set that stuff up as I go. You *can* use it with files you've already marked/warped up, so no worries there! It *might* be tricky if you want to mark/warp new files with that demo version, but if all your tracks are already done then I reckon you'll be OK. Brendan
RE: (313) Ableton Live / Computer Help
On a side note, when I pull in tracks that I've already warped in other sets, the warp markers don't seem to show up, and I still have to rewarp them. Am I doing something wrong? Usually the way I do it is copy the .wav and .asd file into the directory I use for the set, and Ableton shows a symbol that seems to imply it recognizes the .asd file, but when I pull it in - no warp. David. Is there a possibility you're saving/moving/copying them as 'read only' files? they don't work then for some reason - not sure why. But you SHOULD definitely be able to save them and use them whenever. Maybe others might know more? Alex _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers LLP. PricewaterhouseCoopers LLP may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring.
Re: (313) japanese gentleman
On Nov 11, 2004, at 17:13 PM, Bond ... Alex Bond wrote: does anyone know what this says? or, does anyone know where I can translate japanese to english? http://www.cisco-records.co.jp/cgi/title/techno/detail_119786.php This is the Japanese translation page I use: http://www.excite.co.jp/world/english/web/ Paste the URL into the box. Underneath it, you'll see two radio buttons; the left one is selected by default. That's English to Japanese - so click the right one instead. Then, next to that is a pull-down menu with two entries. The top-most one is selected by default. Choose the bottom one. (That selects superimposing the English translation - in green - with the Japanese original, which gives context.) Then just click on the button next to the URL box that's inside the burnt ochre/orange box. That'll take you to this direct URL: http://www.excite.co.jp/world/english/web/body/? wb_url=http%3A%2F%2Fwww.cisco- records.co.jp%2Fcgi%2Ftitle%2Ftechno%2Fdetail_119786.phpsubmit=%83E%83F %83u%83y%81%5B%83W%96%7C%96%F3wb_lp=JAENwb_dis=3wb_co=excitejapan In which we find Mr. magnate HOAN who returned the base to Detroit again releases a work in succession. It is the good work which shows the wonderful whole surface different from the work as which the mellow work which made full use of a lyricism-melody made time the same at the center, and was announced in the Model 500 name from the own label Metoroplex again. An initial Detroit lyricism-place is evolved further, and the melody on which the refined beauty drifts invites impression, so that it is heard and crowded. So Atkins must mean magnate in Japan ;-) - Greg
Re: (313) environ release.
On Nov 12, 2004, at 9:33 AM, Thomas D. Cox, Jr. wrote: -- Original Message -- From: lee herrington [EMAIL PROTECTED] I just wanna say yeah, for the new Kelley Polar Quartet EP. gorgeous and sublime string work. funky too. I spent a good 45min coloring with my 5yr old son while we listened to the rococo EP. highly recommended. the b side is definitely in my top 3 techno tracks for the year. it doesnt really sound like anything else i have or anything else ive heard. its superminimal with just a beat and strings. f*cking brilliant, IMO. after listening to it a couple times, i find the a side to be almost boring in comparison. but just for the b-side id call this a must have record. yes this is awesome.. but i like both sides. I think the b-side track is simply titled Maurizio? You can hear the influence in the bassline and beats.. but the string arrangements on top are all Kelley Polar, gorgeous and unique. All you Basic Channel / M label fans need to check this out release for the latest reach of where their sound has influenced and planted yet more seeds of greatness in next generation artists. But it's so much more than that influence. A true unique gem. peace -- Matt MacQueen http://SonicSunset.com
Re: (313) environ release.
yes this is awesome.. but i like both sides. I think the b-side track is simply titled Maurizio? You can hear the influence in the bassline and beats.. but the string arrangements on top are all Kelley Polar, gorgeous and unique. All you Basic Channel / M label fans need to check this out release for the latest reach of where their sound has influenced and planted yet more seeds of greatness in next generation artists. But it's so much more than that influence. A true unique gem. i should add to my previous comments that the title Maurizio could be a completely different italian or other reference intended by the title (if you actually ascribe any meanings to track titles in dance music.. for that matter) but personally I hear a connection to M-series kind of sounds in the beats. peace -- Matt MacQueen http://SonicSunset.com
Re: (313) environ release.
rococo EP I need this record. Hey, did anyone get the unclassics cd? I got it for my birthday. IT'S ACE. BUY ONE. I nicked those Humanoid beats for my Ableton too : ) _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers LLP. PricewaterhouseCoopers LLP may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring.
RE: (313) environ release.
Yeah, totally - a couple of the new tracks (Victor, Zodiac) have already been on heavy rotation in my walkman for the past week, and I envy those who will discover tracks like Margharitas or Dance Reaction or Pluton (which were already on the EPs)... Gwendal -Message d'origine- De : [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Envoyé : Friday, November 12, 2004 5:40 PM À : 313@hyperreal.org Objet : Re: (313) environ release. rococo EP I need this record. Hey, did anyone get the unclassics cd? I got it for my birthday. IT'S ACE. BUY ONE. I nicked those Humanoid beats for my Ableton too : ) _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers LLP. PricewaterhouseCoopers LLP may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring.
RE: (313) environ release.
Gwendal. You just reminded me of something Zodiac Is that that crazy latvian electronic disco thing from early 80's? I'm sure that was called Zodiac. Alex _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers LLP. PricewaterhouseCoopers LLP may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring.
Re: (313) environ release.
On Nov 12, 2004, at 10:40 AM, Cobert, Gwendal wrote: and I envy those who will discover tracks like Margharitas or Dance Reaction or Pluton (which were already on the EPs)... speaking of discovering other EPs, Metro Area #5, previously only available on vinyl.. can now be bought digitally at iTunes for all the non-vinyl peoples of the world. Dunno how to send a link to it, but if you search iTunes music store for METRO AREA, voila.. Proton Candy and Nerves. -- Matt MacQueen http://SonicSunset.com
RE: (313) environ release.
Wasn't vol 6 also due anytime soon ? Gwendal -Message d'origine- De : Matt MacQueen [mailto:[EMAIL PROTECTED] Envoyé : Friday, November 12, 2004 5:52 PM À : Cobert, Gwendal Cc : 313@hyperreal.org Objet : Re: (313) environ release. On Nov 12, 2004, at 10:40 AM, Cobert, Gwendal wrote: and I envy those who will discover tracks like Margharitas or Dance Reaction or Pluton (which were already on the EPs)... speaking of discovering other EPs, Metro Area #5, previously only available on vinyl.. can now be bought digitally at iTunes for all the non-vinyl peoples of the world. Dunno how to send a link to it, but if you search iTunes music store for METRO AREA, voila.. Proton Candy and Nerves. -- Matt MacQueen http://SonicSunset.com
Re: (313) environ release.
At 11:52 AM 11/12/2004, Matt MacQueen wrote: speaking of discovering other EPs, Metro Area #5, previously only available on vinyl.. can now be bought digitally at iTunes for all the non-vinyl peoples of the world. Dunno how to send a link to it, but if you search iTunes music store for METRO AREA, voila.. Proton Candy and Nerves. BAM: http://www.apple.com/itunes/linkmaker/ -- Matt Kane [EMAIL PROTECTED]
(313) John Peel's funeral
http://news.bbc.co.uk/2/hi/in_depth/photo_gallery/4006879.stm amazing number of people truly wish I could have been there MEK
Re: (313) John Peel's funeral
The sight of that coffin makes me feel a little sick. RIP Mr Peel _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers LLP. PricewaterhouseCoopers LLP may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring.
Re: (313) environ release.
On Nov 12, 2004, at 10:51 AM, Cobert, Gwendal wrote: Wasn't vol 6 also due anytime soon ? nope i don't think it's even in the works (as of now).. But DO be on the lookout for a new Jersey Devil Social Club 12-inch dropping very soon... a remake (with vocals! plus a dub version b-side) of famous old cut Magnifique, real popular in the early pre-house daze, played a lot by Ron Hardy.. superb production, funky as hell, more goodies from Environ in the future/past style -- Matt MacQueen http://SonicSunset.com
RE: (313) John Peel's funeral
Eek! Jack White is looking a bit like Jacko there -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Friday, November 12, 2004 5:13 PM To: 313@hyperreal.org Subject: (313) John Peel's funeral http://news.bbc.co.uk/2/hi/in_depth/photo_gallery/4006879.stm amazing number of people truly wish I could have been there MEK # Note: 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] Thank You. #
RE: (313) John Peel's funeral
The coffin's arrival - and departure to the sound of Teenage Kicks by The Undertones Perfect Gwendal -Message d'origine- De : [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Envoyé : Friday, November 12, 2004 6:15 PM À : 313@hyperreal.org Objet : Re: (313) John Peel's funeral The sight of that coffin makes me feel a little sick. RIP Mr Peel _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers LLP. PricewaterhouseCoopers LLP may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring.
(313) Nice mix site with Detroit/Warp/RePHLeX/old school flava
Lots of good mixes (good playlists, if not always good mixing ;) ) here: http://www.beatsinspace.net/ Apparently run by some guy in NYC named Tim Sweeney - he opened for U.N.K.L.E. recently and (along with Tim Goldsworthy of the DFA) assembled DFA Compilation #2. Something for everyone on (313). Check this recent playlist: Playlist for Oct 14th, 2004 ::: 1. mu-Ziq - Riostand - RePHLeX 2. Autechre - Doctrine - Warp 3. Mike Ink - Paroles - Warp 4. Curve - Falling Free (Aphex Twin Remix) 5. mu-Ziq - mu-Ziq Theme - RePHLeX 6. Ministry - The Angel - Sire 7. Ultravox - Alles Klar - Chrysalis 8. DMX Krew - When The Going Gets Weird - RePHLeX 9. Klein MBO - MBO Theme 10. Hot Chocolate - Night Ride - Rak 11. Killing Joke - Bloodsport - EG 12. Cabaret Voltaire - Sluggin' Fer Jesus - Bruits Essentiels 13. The Bridge - Love Dance (Love Mix) - Second Vision 14. The Emperor Machine - - DC 15. A Relic - Longer Than Long Ago - Transmat 16. Scan 7 - 21st Century 17. A Number of Names - Shari Vari 18. Michael Campbell High Volt - We Are Making Music - Hit Makers of America 19. Bombers - Everybody Get Dancin' - West End 20. Lefturno - Out Of Sight - Ascot 21. Skatt Bros - Walk The Night - Casablanca 22. Mr. Flagio - Take A Chance - Zyx 23. Bohannon - Dance, Dance, Dance All Night - Phase II 24. Man Friday - Love Honey, Love Heartache - Vinylmania 25. Photocall - Silver Clouds - Computer Life 26. Chicken Lips - Meet Me At The Freezer - Kingsize 27. I:Cube - Fabu - Versatile 28. Plaid - Scoobs - Warp 29. Sueno Latino - Sueno Latino (Derrick May Remix) - Creative 30. Bang The Party - Bang You're Mine 31. Paperclip People - Throw (Hands In The Air Mix) - Open 32. The Slits - Earthbeat - Epic - Greg
Re: (313) Metro Times: Detroit
ok- we get it, you don't like hawtin. can the rest of us have a conversation now? sheesh On Fri, 12 Nov 2004, Thomas D. Cox, Jr. wrote: -- Original Message -- From: /0 [EMAIL PROTECTED] maybe I misunderstand you, but its OK for mills to go on and on and on about what is basically 4/4 bangers, while hawtin (who IS innovating and changing sound through the years) is looked on as getting a bit too wanky? well, he sure is changing. if you call it innovation, i guess thats a judgement call. i call it devolution. tom andythepooh.com
Re: (313) Nice mix site with Detroit/Warp/RePHLeX/old school flava
awesome! just the audio background i needed for a rainy day filled with getting projects done. thanks greg! --- Greg Earle [EMAIL PROTECTED] wrote: Lots of good mixes (good playlists, if not always good mixing ;) ) here: http://www.beatsinspace.net/ Apparently run by some guy in NYC named Tim Sweeney - he opened for U.N.K.L.E. recently and (along with Tim Goldsworthy of the DFA) assembled DFA Compilation #2. Something for everyone on (313). Check this recent playlist: Playlist for Oct 14th, 2004 ::: 1. mu-Ziq - Riostand - RePHLeX 2. Autechre - Doctrine - Warp 3. Mike Ink - Paroles - Warp 4. Curve - Falling Free (Aphex Twin Remix) 5. mu-Ziq - mu-Ziq Theme - RePHLeX 6. Ministry - The Angel - Sire 7. Ultravox - Alles Klar - Chrysalis 8. DMX Krew - When The Going Gets Weird - RePHLeX 9. Klein MBO - MBO Theme 10. Hot Chocolate - Night Ride - Rak 11. Killing Joke - Bloodsport - EG 12. Cabaret Voltaire - Sluggin' Fer Jesus - Bruits Essentiels 13. The Bridge - Love Dance (Love Mix) - Second Vision 14. The Emperor Machine - - DC 15. A Relic - Longer Than Long Ago - Transmat 16. Scan 7 - 21st Century 17. A Number of Names - Shari Vari 18. Michael Campbell High Volt - We Are Making Music - Hit Makers of America 19. Bombers - Everybody Get Dancin' - West End 20. Lefturno - Out Of Sight - Ascot 21. Skatt Bros - Walk The Night - Casablanca 22. Mr. Flagio - Take A Chance - Zyx 23. Bohannon - Dance, Dance, Dance All Night - Phase II 24. Man Friday - Love Honey, Love Heartache - Vinylmania 25. Photocall - Silver Clouds - Computer Life 26. Chicken Lips - Meet Me At The Freezer - Kingsize 27. I:Cube - Fabu - Versatile 28. Plaid - Scoobs - Warp 29. Sueno Latino - Sueno Latino (Derrick May Remix) - Creative 30. Bang The Party - Bang You're Mine 31. Paperclip People - Throw (Hands In The Air Mix) - Open 32. The Slits - Earthbeat - Epic - Greg __ Do you Yahoo!? Check out the new Yahoo! Front Page. www.yahoo.com
Re: (313) Metro Times: Detroit
it's interesting to me because i wrote essentailly the same article for urb this past summer. and i'll admit, a blinding weekend in berlin with hawtin and company is a heady experience that'll get you thinking about what it all means. of course- i don't have the capacity for such verbos (pretentious?) prose as walter, which i think it's a benifit as a writer but a weakness in myself. but enough about me- whatever they're doing over there, a lot of it is just drug induced mumbo, but then again, how much of the crap about spacefunk and drexciyans and fear and loathing in las vegas and electric kool-aid acid test and french romantisism and all that other old stuff i don't know enough about is basically unrealistic babble. not all drug related (although a LOT is). But my point is that any sort of valid artistic movement will (and should) have a fair amount of pretentious and abstract thought that never amounts to a hill of beans. so yeah- what he said... On Fri, 12 Nov 2004, Tristan Watkins wrote: On Fri Nov 12 5:13 , '/0' [EMAIL PROTECTED] sent: maybe I misunderstand you, but its OK for mills to go on and on and on about what is basically 4/4 bangers, while hawtin (who IS innovating and changing sound through the years) is looked on as getting a bit too wanky? please correct me (respectfully) if I misunderstand you Well, I never said anything about Mills, but I'd level the same criticism if he was saying that what he does achieves something grand, rather than saying that he achieves inspiration from grand ideas. And for the record, I wasn't so much having a go at Hawtin as the author of the article. who seemed to want to make it all seem earth-shattering. On Fri Nov 12 5:13 , '/0' [EMAIL PROTECTED] sent: maybe I misunderstand you, but its OK for mills to go on and on and on about what is basically 4/4 bangers, while hawtin (who IS innovating and changing sound through the years) is looked on as getting a bit too wanky? please correct me (respectfully) if I misunderstand you Well, I never said anything about Mills, but I'd level the same criticism if he was saying that what he does achieves something grand, rather than saying that he achieves inspiration from grand ideas (which is generally how I read his pontifications). And for the record, I wasn't so much having a go at Hawtin as the author of the article, who seemed to want to make it all earth-shattering (although I do think Hawtin has a tendency to get caught up in philosophical flavours of the month, from what I can glean from interviews). And this is not to say there isn't significance to the events we witness in a club, nor that some projects can't achieve lofty aspirations, but I don't like the idea that we need to intellectualise music in order to give it *extra* importance. Music *is* very important, but it doesn't need the window-dressing to make it more than what we experience in the immediate, in 99.99% of the cases. Tristan
RE: (313) Metro Times: Detroit
-Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 12 November 2004 18:43 To: Tristan Watkins Cc: ''SeanDeason C''; ''fwdthought''; 313@hyperreal.org; '/0' Subject: Re: (313) Metro Times: Detroit it's interesting to me because i wrote essentailly the same article for urb this past summer. and i'll admit, a blinding weekend in berlin with hawtin and company is a heady experience that'll get you thinking about what it all means. of course- i don't have the capacity for such verbos (pretentious?) prose as walter, which i think it's a benifit as a writer but a weakness in myself. but enough about me- whatever they're doing over there, a lot of it is just drug induced mumbo, but then again, how much of the crap about spacefunk and drexciyans and fear and loathing in las vegas and electric kool-aid acid test and french romantisism and all that other old stuff i don't know enough about is basically unrealistic babble. not all drug related (although a LOT is). But my point is that any sort of valid artistic movement will (and should) have a fair amount of pretentious and abstract thought that never amounts to a hill of beans. so yeah- what he said... It's a fair enough point. I mean, I've been caught up in bullsh*t like that as much as the next guy - not to say that I think I'm right, just that I think it's bullsh*t, being fully aware that I am just as likely to be wrong as the next guy. And because I think I end up sounding like a twat more than a hippy most of the time, I'll tell you what I think people should be making a big deal of (if they want to intellectualise about the clubbing experience): the communal vibe. In my experience, few things encourage as much excitement as when you get people in numbers getting off on the same thing, whether that's political rallies, a small black church on the east side of Detroit, sporting events or the rave. It's when community becomes nearly tangible - especially if everyone is witnessing with the same spectatorial vocabulary. It's like a controlled (or sometimes not) hysteria. The numbers don't need to be massive, but of course if the connection and numbers are there together, it all goes off in grander fashion. For me, this tends to happen in smaller venues more often than not (but I'm not trying to resurrect that debate), and few things make me happier than either going into myself with the volume up, closing my eyes and feeling nothing but the pleasantness of everything around me, or looking around at my friends when 'The Wipe' comes on, knowing that we're all equally happy that some bloke in the DJ booth knows how to make us happy. It's yet another kind of fulfilment when you're in the position to guide this along, especially when you don't know the crowd at all, and you're just hoping to God they'll dig your sh*t - it's one of the few things that makes me a humanitarian and an optimist, despite the troves of evidence to the contrary. And I love both sides of the booth. So if I were ever going to consider how DJs should big themselves up (especially if I was trying to claim that ego had nothing to do with it), I wouldn't be spouting about how my ego is no longer a part of the process. I'd be spouting about how the barrier between performer and audience is eradicated when the right crowd is assembled for the right DJ in the right place on the right night - which requires a good crowd, a good venue, a good owner, a good promoter and a good DJ. None of which happens without the right people, dedication, planning, fingers on the pulse, ground work, experience, history, execution and the right wax. When that happens, it's pure f*cking magic. In my mind, that's what must be happening in Berlin, because I know that's how good nights happen in London. We might not get the same kind of international press or have the same people migrating in droves, but for at least the last few years, all of these ingredients have come together with regularity here, and I bet it's not that much different in Holland, Tokyo or Berlin. $.02. Tristan === http://www.phonopsia.co.uk [EMAIL PROTECTED]
(313) new CC on Planet E
I heard Carl Craig is going to release a new record on Planet E. Someone I know received a white label, but I didn't had the change to listen to it yet. Maybe you?
RE: (313) Metro Times: Detroit
I just went back and re-read the quote. interestingly, only half the later half is a direct quote, the previous paragraph being the writer's explanation of the concept, therefore highly suspect... but- i think the premise here is that of primalism (a word used by the writer later on in the piece). I've often heard DJs talk about not really thinking about what they're playing- it just pouring out. that's where the 'no ego' thing comes in. i've often seen rich go into those zones where he just seems possessed. and i've certainly experienced those moments where you lose all sense of self/group/listener/dj/whatever on the dancefloor. i think that's the premise here. which of course doesn't disqualify your theory tristan. in fact, i believe the moment you describe usually comes right after the moment i'm describing- when you return to your 'self' and become aware of the communial nature of the event. so i think you and rich are really just examing two points on the same highly fuzzy late-night timeline. It's a fair enough point. I mean, I've been caught up in bullsh*t like that as much as the next guy - not to say that I think I'm right, just that I think it's bullsh*t, being fully aware that I am just as likely to be wrong as the next guy. And because I think I end up sounding like a twat more than a hippy most of the time, I'll tell you what I think people should be making a big deal of (if they want to intellectualise about the clubbing experience): the communal vibe. In my experience, few things encourage as much excitement as when you get people in numbers getting off on the same thing, whether that's political rallies, a small black church on the east side of Detroit, sporting events or the rave. It's when community becomes nearly tangible - especially if everyone is witnessing with the same spectatorial vocabulary. It's like a controlled (or sometimes not) hysteria. The numbers don't need to be massive, but of course if the connection and numbers are there together, it all goes off in grander fashion. For me, this tends to happen in smaller venues more often than not (but I'm not trying to resurrect that debate), and few things make me happier than either going into myself with the volume up, closing my eyes and feeling nothing but the pleasantness of everything around me, or looking around at my friends when 'The Wipe' comes on, knowing that we're all equally happy that some bloke in the DJ booth knows how to make us happy. It's yet another kind of fulfilment when you're in the position to guide this along, especially when you don't know the crowd at all, and you're just hoping to God they'll dig your sh*t - it's one of the few things that makes me a humanitarian and an optimist, despite the troves of evidence to the contrary. And I love both sides of the booth. So if I were ever going to consider how DJs should big themselves up (especially if I was trying to claim that ego had nothing to do with it), I wouldn't be spouting about how my ego is no longer a part of the process. I'd be spouting about how the barrier between performer and audience is eradicated when the right crowd is assembled for the right DJ in the right place on the right night - which requires a good crowd, a good venue, a good owner, a good promoter and a good DJ. None of which happens without the right people, dedication, planning, fingers on the pulse, ground work, experience, history, execution and the right wax. When that happens, it's pure f*cking magic. In my mind, that's what must be happening in Berlin, because I know that's how good nights happen in London. We might not get the same kind of international press or have the same people migrating in droves, but for at least the last few years, all of these ingredients have come together with regularity here, and I bet it's not that much different in Holland, Tokyo or Berlin. $.02. Tristan === http://www.phonopsia.co.uk [EMAIL PROTECTED]
Re: (313) Magick Times: Detroit
Austin Osman Spare called this a state of neither neither - a state of mind where the internal chatter is silenced and a strange kind of auto-pilot takes over. This can often happen if you drive the same route to work everyday - you arrive not even aware of how complete the journey was, let allow all the internal instructions needed to drive car. Martin which of course doesn't disqualify your theory tristan. in fact, i believe the moment you describe usually comes right after the moment i'm describing- when you return to your 'self' and become aware of the communial nature of the event. so i think you and rich are really just examing two points on the same highly fuzzy late-night timeline.
Re: (313) Metro Times: Detroit
-- Original Message -- From: [EMAIL PROTECTED] ok- we get it, you don't like hawtin. can the rest of us have a conversation now? sheesh i dont see why the other guy making blatantly irritating generalizations about jeff mills is okay but if i say the same about hawtin its not a discussion? tom andythepooh.com
Re: (313) new CC on Planet E
-- Original Message -- From: Simon Vrebos [EMAIL PROTECTED] I heard Carl Craig is going to release a new record on Planet E. Someone I know received a white label, but I didn't had the change to listen to it yet. Maybe you? i have the 12 on white. its a mostly ambient (3 out of 4 cuts) with one minimal housey kind of cut. nothing super exciting on the 12 really. the A1 is the best cut, its a melodic ambient cut thats just not as good as a wonderful life. the b1 is the housey cut and the b2 is a mostly noisy throw away kind of thing. its not going to be a huge record i dont think, but if youre a fan of carl's work youll probably be interested in hearing it. tom andythepooh.com
RE: (313) Magick Times: Detroit
-Original Message- From: Martin Dust [mailto:[EMAIL PROTECTED] Sent: 12 November 2004 20:06 To: 313@hyperreal.org Subject: Re: (313) Magick Times: Detroit Austin Osman Spare called this a state of neither neither - a state of mind where the internal chatter is silenced and a strange kind of auto-pilot takes over. This can often happen if you drive the same route to work everyday - you arrive not even aware of how complete the journey was, let allow all the internal instructions needed to drive car. Yeah, exactly. This is what I was talking about in my post yesterday. That you can get to 'the zone' or whatever you want to call that immersive state through lots of different ways, not just through DJing. I just went back and re-read the quote. interestingly, only half the later half is a direct quote, the previous paragraph being the writer's explanation of the concept, therefore highly suspect... I was never trying to discredit what Hawtin was on about. I was just trying to dilute the importance the author gave to it. I mean the dude uses this fairly banal observation about the creative process as the starting point for his tirade about Berlin being the mecca of the arts, citing loads of crap about Hegel, Kant, Negri, etc. If you're looking at two hundred years of a city's history, you're bound to find loads of important artistic/philospohical contributors, without extending that laundry list of Germans to people who never lived there (like Nietzsche for one). I mean do we really need a reminder of how many important philosophers came from Germany? It's philosophical name-dropping at its worst because the content is never put to use, except for a crappy paragraph on Hegel, who could never be summarized out of context. I just thought it was a tenuous place to begin the exploration of the import of electronic music to art globally, and pretty non-unique to Berlin. He could've just said Berlin's cool because it's got loads of clubbers who love good music and lots of really good DJs live there, but that's not a very interesting story (albeit true). Am I the only one that thought it was excessively long given that it had hardly any coherent focus? A couple of bits thrown in at the end about the DJs other than Hawtin for what? Because the journalist got time with them too? Sorry... I never meant to rip this thing to shreds, it just seemed like it could've used some more time and insight. Conversely, the dude probably got the thing out on time under tight pressure, whereas my Movement report is not as long, took me two months to write/edit and is only now about to see the light of day. Tristan === http://www.phonopsia.co.uk [EMAIL PROTECTED]
(313) Other new stuff
Some stuff I'm really diggin' at the moment: That Juan Atkins 'Fast Forward', as previously mentioned. Claro Intellecto remix of Vector Lovers on Soma. Long, slow drawn-out techno. The two B-side cuts on the new Vince Watson on Headspace are sick. The first is deep, slightly tracky techno, maybe reminding of Hood??? The second makes me think of mid-'90s Warpish techno. Really nice stuff. Memory Foundation - Hot and Smokey ep on Central, for the last track. The other three all show some promise but don't quite hit it. The last one does for sure though, with big chunky European beats beneath Detroity stabs. A nice combination. Dirty Criminals - Organized Confuzion on Gigolo. About half the cuts on here are exactly like what you'd hope Traxx would put out. DIRTY acid with an EBM edge, plus enough Hyroglyphic Being throughout to not make it feel one-dimensional. TOUGH. I would love to see Traxx play this stuff... Chicago Housing Commission 2 + 3. That 'House is Mine' whatever-it-is is dope. Does it sample the Hypnotist tune, or do they both sample something else? I like it plenty, at any rate. Also 'Berlin' on Volume 3 is a pretty cool noisy but reverby take on acid. Still haven't heard more than one stand-out cut on any of these, but think both of these are worth the price. DJ Yoav B - Boogie Down Saturn: Two Friday's ago I forwarded to the part of 'Clinically Inclined' that featuerd this track to play it for my flatmate when I got home. 30 minutes later found myself on a spontaneous journey to Brighton to see Carl Craig, having been seized by techno. Can't wait to hear this loud. Totally brilliant. De La Soul - Grind Date (Included per J Dilla production): Some serious Motown edge to a lot of this. I think it's the best album since 'Stakes is High' (which I rate as their best). Some people may think it's too RB in places, but if that won't bother you I think this will float your boat. There are some moments of production genius, that's for sure. I fear the lyrical themes may be getting tired, but every time I hear a new De La they find a way to defeat that resistance after about 5 listens, so my hopes are high! Pirahnahead - Dreams [Mahogani]: BIG house from a disco perspective. Seems a bit strange on Mahogani, but I can feel the Detroit in it, just like Amp Fiddler. Really like the big non-vocally bit in the middle, not so much because it doesn't have vocals as because it's just good. Can't see myself playing it out, but can see myself dancing to it in the right set, if that makes any sense. Like I think Mike grant could play it well, but it would stick out like a sore thumb in one of my sets... [Dead horse beating time] All that Shed stuff on Soloaction and Delsin. Not a bad cut yet, and most of them are wicked. Really digging some of the different directions on the Delsin one too. Tristan === http://www.phonopsia.co.uk [EMAIL PROTECTED]
RE: (313) Magick Times: Detroit
I kinda feel like the article was really a brief overview of what the writer got from the interview with richie. I'd really love to see the whole interview in a proper QA stylee. Let rich tell it himself. Otherwise you never really know. I feel where all the points are coming from though. Kamal K. Stoddard Turner Broadcasting Systems Bebop was about change, about evolution. It wasn't about standing still and becoming safe. If anybody wants to keep creating they have to be about change.
