RE: (313) UK Techno Mix
Seconded. Friday night listening sorted out !! Rav -Original Message- From: fm [mailto:o...@forwardmusic.com] Sent: 03 September 2009 23:12 To: Placid Cc: Three-One-Three Subject: Re: (313) UK Techno Mix sweet! On 3-Sep-09, at 6:07 PM, Placid wrote: following on from my UK acid mix, here's one of my fav UK Techno.. mostly from 89- 91 but with a fe newwer bits.. again could do quite a few volumes to fill some glaring omissions but I only had 2 hours.. Enjoy Mix is here - http://www.acid-house.net/Placid_UKTechno.mp3 Records Bizarre Inc - Movement of Sound - BLue Chip Random Factor - In Visible Light - 20:20 Stasis - Point of No Return - B12 Global COmmunication - 7:39 - Dedicated Hi Ryze - Ride the Rhythm - Brainiak AFX - En Trance TO Exit - Mighty Force DJ Mink - Hey Hey Can you Relate - Warp C M Connection - Another Night - Blue Chip As One - Amalia - A.R.T Claro Intelecto - Lacan - Modern Love A Guy Called Gerald - Valentines Theme - White Black Dog Productions - Black Dog Productions Ep - Rising High Epoch 90 - VLSI Heaven - Oh Zone Gak - Gak 4 - Warp Nexus 21 - Self Hypnosis - Network Nuron / Fugue - Likemind 02 - Likemind The Black Dog - Ambience with Teeth - Black Dog Planetary Assault Systems - Sleeping Sin Seemless - Peacefrog Schatrax - Mispent Years - Schatrax Forgemasters - Track With No Name - Warp Polygon Window - Polygon Window - Warp Kirk Degiorgio - Mass - A.R.T In Sync - Storm - Irdial The Black Dog - Aural Wallpaper - General Productions Done on one hit 2 x 1210's 320kbps spprox 275MB -- Playing 19th September - Bristol Festival Boat Party 19th September - Bristol Festival Timbuk2 9th October - Nottingham Placid on the t'interweb - http://www.acid-house.net Vinyl for Sale - http://www.discogs.com/sell/list?seller=placid Placid's Gigs and Gigography - http://www.new.facebook.com/group.php?gid=41658902688 Live on Future-music.co.uk every other Thursday - 8pm - 10pm To view the terms under which this email is distributed, please go to http://disclaimer.leedsmet.ac.uk/email.htm
RE: (313) New Mix/Charts + Jacaszek
It all seems so perfect for looking out the window at the rain we've set the Nord up there... Sync. I was listening to this yesterday. I work on a 7th Floor office and was looking out on Leeds city centre as the rain fell and clouds moved across the city scape yesterday afternoon. It was a moment. -Original Message- From: Martin Dust [mailto:mar...@dustscience.com] Sent: 04 September 2009 09:29 To: Mann, Ravinder; list 313 Subject: Re: (313) New Mix/Charts + Jacaszek On 4 Sep 2009, at 09:04, Mann, Ravinder wrote: I've ordered Treny (I think Treny would be a good intro to Pentral which I might follow with) and Music for falling from Trees after listening to the Sometimes mix which I feel is going to be on heavy rotate as autumn comes around. Seems about right Ravi, add Harold Budd's The Room and I think you are done there or Dakota Suite's The End Of Trying :) I really love Music For Falling, it's a little short but it hits the spot. It all seems so perfect for looking out the window at the rain, we've set the Nord up there... m To view the terms under which this email is distributed, please go to http://disclaimer.leedsmet.ac.uk/email.htm
Re: (313) Echocord 39 Fluxion Induction/Elation
On 4 Sep 2009, at 10:40, Odeluga, Ken wrote: Fluxion is definitely a cut above Martinand perhaps the least dubby of the Chain Reaction artists on their roster at the time. More recently, that artist has moved away from the head-nodding BC repetition vibe and cut out a more melodic vein - whilst still keeping things stripped-down. Check out D-Teck especially - it appears you can buy a downloadable version from the label. I recommend it, in fact http://www.store.vibrantmusic.com/ Go on, trust me, chuck 'em some money... Ken Will give it a good listen but I'm feeling the Frozen Border/Sandwell/ Horizontal Ground stuff more than this Ken. m
Re: (313) New Mix/Charts
honestly, all of it. he's a true master. plume is his newest full length, and there is a newish track on the modelarts Relay release (free: http://www.modelart.ie/relay/ ) and again, there is a terrific new loscil track on that dakota suite remix album -- From: Martin Dust mar...@dustscience.com Sent: Friday, September 04, 2009 5:27 AM To: /0 r3dsh...@chartermi.net; list 313 313@hyperreal.org Subject: Re: (313) New Mix/Charts On 2 Sep 2009, at 22:43, /0 wrote: martin if you like peter broderick, pick up the dakota suite remix album http://www.discogs.com/Dakota-Suite-The-Night-Just-Keeps-Coming-In/release/1751456 great tracks from peter, loscil, jacaszek, etc. Joe, what Loscil would you recommend? We have Sumbers already. m
RE: (313) Echocord 39 Fluxion Induction/Elation/Sandwell
Fair enough. Recommend me a Sandwell District then Martin. I don't know where to start with that lot and it's passing me by... Ken -Original Message- From: Martin Dust [mailto:mar...@dustscience.com] Sent: Friday, September 04, 2009 10:56 AM To: Odeluga, Ken; list 313; kent williams Subject: Re: (313) Echocord 39 Fluxion Induction/Elation On 4 Sep 2009, at 10:40, Odeluga, Ken wrote: Fluxion is definitely a cut above Martinand perhaps the least dubby of the Chain Reaction artists on their roster at the time. More recently, that artist has moved away from the head-nodding BC repetition vibe and cut out a more melodic vein - whilst still keeping things stripped-down. Check out D-Teck especially - it appears you can buy a downloadable version from the label. I recommend it, in fact http://www.store.vibrantmusic.com/ Go on, trust me, chuck 'em some money... Ken Will give it a good listen but I'm feeling the Frozen Border/Sandwell/ Horizontal Ground stuff more than this Ken. m
Re: (313) Echocord 39 Fluxion Induction/Elation/Sandwell
313@hyperreal.org On 4 Sep 2009, at 11:31, Odeluga, Ken wrote: Fair enough. I'm feeling the dark edge stuff more these days Ken, but I'll give it another go later. Recommend me a Sandwell District then Martin. I don't know where to start with that lot and it's passing me by... Well on Sandwell District: Variance, Variance 3, Variance 4, Born Against and Violencia are good places to start Everything on Horizontal Ground, same with Frozen Border m
(313) Future Beat Alliance out now
Well it is out for a while now, but i have been late posting it due to a holliday (damn them). The new Future Beat Alliance is out now on EevoNext, digital download for now, the CD will be out sometime later. Expect lush strings ;-) Info: Future Beat Alliance aka Matthew Puffett proudly presents his third full length album, the first one on the EevoNext recordings imprint. Patience and distance refers to getting from A to B in the best possible way in a bad situation, trying to control anxiety and fears. The featured tracks reflect on that, most of them being recorded in an impulse to capture the moment, after long lost weekends in the city. In essence,they form therapy sessions to recover from the big city stress. Having worked an average day or 2 on each track, it still took a few years to compile everything into this excellent album. Some highlights: The title track 'Patience and distance' has calm, yet exciting feel to it, transmitting peace and relaxation. 'Eremin 5' beautifully transforms from an ambient piece into a complex pattern of rhythm, sequences and chord pads that make you feel all shiny and new. 'Without words' makes you think about the world and it's complexities, and 'Calculated notes' resembles the energy from the city travels after which it was created. Listen at: http://www.eevolute.com/release/patience-and-distance.html
(313) once again... Berliners! September 24-27
Landing September 24th, departing late afternoon of 27th with a bunch of friends. Line ups are not stellar, but quite good: Thursday is warmup... Friday there are Monolake+Modeselektor+Coldcut at WMF... or Steve Rachmad at Arena... Peter Kruder at Weekend or Stil Vor Talent night at Watergate... Saturday we'll go straight for Chris Liebing at Berghain. If they won't let us in: Vakant+Dumb Unit night at Watergate or something else... So many clubs to go, so little time ;) Anyone on the list here? Em fran...@thatamazingthing.com ha scritto: In more cheery news it's that time again when I ask who's going to be about in Berlin in a few weeks as I will be from August 21st, leaving morning of 25th. Club line ups look good, Berghain not announced just yet but we'll be there, think we'll be doing something like Tresor Friday for Blake Baxter and Octave One and Weekend for the roof! Saturday some mates are playing at Tape with the Workshop crew so we'll be there before heading to Berghain. Sunday in a ditch / Bar 25 / Visionaere. Carlos? James; you back there yet? Roman; you still on here? Anyone else? After Berlin I'm in Budapest for a few days, then walking in Romania for about 10, then in Bulgaria (Sofia, maybe Varna if I have time) before flying back on the10th Sept, so if there's any list members in those parts would like to meet up let me know. -- Emiliano Zani - Saninforma.it Az. Speciale Farmacie Comunali Riunite Tel: 0522.543227 E-mail: emiliano.z...@fcr.re.it www.saninforma.it
Re: (313) Future Beat Alliance out now
Just listening to this now, dl'ed from Itunes. Helping me through Friday afternoon at work. Lush stuff so far! :) Also peepz, I've recorded a set in ableton of Amp-Art and other unreleased material. Levels all over the place but you get the idea :) http://soundcloud.com/amp-art/mxm-live4-quick-ruff All tracks by MXM except where mentioned. 1: Category Blues Intro 2: Trouble in Space 3: African Sans [MXM Live Edit] 4: Soul Compaktor [Live Jam] 5: Move Me (Twisted Mix) 6; Move Me (live edit) 7: Nick Moore - People of Earth (Amp-Art 12002) (CD/R) 8: Jazz Seducer (edit) 9: Nick Moore - Satellites are Spinnin (Edit) (Amp-Art 12002) (CD/R) 10: Time to Ignite Live 11: Pablo Von Technic (Floor Edit) Cheers Max Well it is out for a while now, but i have been late posting it due to a holliday (damn them). The new Future Beat Alliance is out now on EevoNext, digital download for now, the CD will be out sometime later. Expect lush strings ;-) Info: Future Beat Alliance aka Matthew Puffett proudly presents his third full length album, the first one on the EevoNext recordings imprint. Patience and distance refers to getting from A to B in the best possible way in a bad situation, trying to control anxiety and fears. The featured tracks reflect on that, most of them being recorded in an impulse to capture the moment, after long lost weekends in the city. In essence,they form therapy sessions to recover from the big city stress. Having worked an average day or 2 on each track, it still took a few years to compile everything into this excellent album. Some highlights: The title track 'Patience and distance' has calm, yet exciting feel to it, transmitting peace and relaxation. 'Eremin 5' beautifully transforms from an ambient piece into a complex pattern of rhythm, sequences and chord pads that make you feel all shiny and new. 'Without words' makes you think about the world and it's complexities, and 'Calculated notes' resembles the energy from the city travels after which it was created. Listen at: http://www.eevolute.com/release/patience-and-distance.html
(313) hedz up -- Monolake Atlas/Titan super-duper cheap
I already bought the download for this from Boomkat for a whole lot more, but Amiestreet has it right now at a crazy price. Worth starting an account for. http://amiestreet.com/browse/music/monolake/atlas-titan/ If you haven't heard of Amiestreet, they have a pricing system where all tracks start out free, and the price goes up with popularity, topping out at 99 cents US. I don't know how it works out for the artist in the end but it's a good site for giving unfamiliar stuff a try. They also have a social networking aspect, where you 'friend' people, and a system where you earn store credit if you do reviews, but I already write reviews for a print publication and can't be bothered
Re: (313) A friend's rant and my own, about techno
I should mention the following about the movie itself for this to make sense: From the trailer: Speaking in Code is an intimate account of people who are completely lost in music. A heartbreaking and lighthearted documentary, it's a vérité glimpse into the world of techno. Captivating and entertaining, the film takes you around the world, following the people who make electronic music ... their lives. Starring: Modeselektor, Wighnomy Brothers, Monolake, Philip Sherburne, David Day Amy Grill Also featuring: Ellen Allien, Tobias Thomas, Marc LeClair AKA Akufen, Wolfgang Voigt, Michael Mayer, Reinhard Voigt, Sascha Ring AKA Apparat, Sascha Funke, Mario Willms AKA Douglas Greed, Miss Kittin, Dan Paluska AKA Six Million Dollar Dan, Mike Uzzi AKA Smartypants Featuring music by: Modeselektor, Wighnomy Brothers, Robag Wruhme, Ellen Allien Apparat, The Field, Monolake, Michael Mayer, Gas, Jonas Bering, SCSI-9, Gui Boratto, Superpitcher, Steadycam, Dettinger, The Rice Twins, Reinhard Voigt, Oxia On Fri, Sep 4, 2009 at 12:35 PM, David Powers cybo...@gmail.com wrote: Someone I know wrote a review of a movie trailer (Speaking in Code) that, for me, exemplified a deeply problematic view of techno versus house. *** Here is my friend's post: Short story: it's not been an easy journey to stay on target. There's a few things the electronic music world has going against it in terms of popular appeal. First off, there's usually no vocals. How many number ones in North America have you heard in the past few years that had no vocals? I'm slowly clicking through Wikipedia and coming up blank. There was that weirdo period in the '90s featuring Moby and Fat Boy Slim and the like that only featured samples, but I don't think the majority of the public realized they were samples -- they just heard weird, staccato vocals. It seems like we North American folk need a spoken narrative to get into music on a mass level. Techno doesn't have a vocalized narrative, it has an abstract narrative that diverges from the mainstream in that very basic sense. Techno enthusiasts, I would propose, operate on a generally more abstract level than just having a beat you can dance to along with a sung allegory of lost love or pursued-yet-unrequited love. Much along the lines of Western Classical enthusiasts, they giddily freak out about an unexpected bass-modulated, gated atonality, and derive blissful pleasure from well-placed syncopation and juxtaposing the minimal alongside the maximal. Even more modern architects have aimed for the same response with the physical environment. For instance, Frank Lloyd Wright's Unitarian Church in Oak Park creates a compressed-released feeling as one steps into the spacious nave from the sort of cramped '50s-ish dropped-ceiling lobby area. In that sense, modern, innovative electronic music is the new classical for the electronic generation. Classical is a misnomer though, as modern electronic music only refers to established patterns, but sounds not at all like anything classic. While house was happily based on reheating black disco, techno strove consciously to reject tradition and avoid copying previous forms... where house rejoiced in funky, soulful disco, techno was transfixed by Giorgio Moroder's computerized version, says author Bill Brewster in Last Night a DJ Saved My Life: The History of the Disc Jockey. Where house stole melodies and basslines wholesale, techno preferred to compose new ones from synthesized notes and layers of tiny, sampled sounds, supporting claims that it is a genre with greater musicianship. Techno is about going back first to principles, to notes and composition, to sounds and structure -- continuing the synthetic agenda laid down by artists like Depeche Mode, Gary Numan and Kraftwerk. And this is why I think techno has been so maligned... its purveyors are not re-hashing established hooks and samples for the sake of being popular and accepted, they are pushing the boundaries of music and emotion -- place and space -- and creating something new and exciting. Yes, that can be scary. No, there is no safety net. But yes -- it's completely thrilling. Let's see if Speaking in Code can convey this quintessential idea sympathetically to a greater audience in order to open up the world to a new way of thinking about innovative sound, sound arrangement, its loyal culture, and what is possible for the future. *** Here is my response: I call Bull$h!t! First of all, half of those artists make what is really techno-pop. I'm not sure how putting a few synthetic sounds over what is essentially a stripped down pop song structure really constitutes avoiding tradition. Furthermore, it sounds to me like Europeans are engaging in a form of subtle racism in their positioning of the relative value of techno vs. house, in their choice of European artists as opposed to American (often black) artists, and in
Re: (313) A friend's rant and my own, about techno
In other words, no one at all from Detroit? I rate that a problem right off the bat. Not that I don't respect a lot of the artists mentioned. On Fri, Sep 4, 2009 at 12:58 PM, David Powerscybo...@gmail.com wrote: Starring: Modeselektor, Wighnomy Brothers, Monolake, Philip Sherburne, David Day Amy Grill Also featuring: Ellen Allien, Tobias Thomas, Marc LeClair AKA Akufen, Wolfgang Voigt, Michael Mayer, Reinhard Voigt, Sascha Ring AKA Apparat, Sascha Funke, Mario Willms AKA Douglas Greed, Miss Kittin, Dan Paluska AKA Six Million Dollar Dan, Mike Uzzi AKA Smartypants Featuring music by: Modeselektor, Wighnomy Brothers, Robag Wruhme, Ellen Allien Apparat, The Field, Monolake, Michael Mayer, Gas, Jonas Bering, SCSI-9, Gui Boratto, Superpitcher, Steadycam, Dettinger, The Rice Twins, Reinhard Voigt, Oxia
Re: (313) A friend's rant and my own, about techno
On Fri, Sep 4, 2009 at 13:58, David Powerscybo...@gmail.com wrote: I should mention the following about the movie itself for this to make sense: This film got reviewed at ISM back in April: http://infinitestatemachine.com/2009/04/14/questionable/ I know some of the people involved in the production. I have heard so much about this movie in the past five years that I feel like I don't even have to go see it. -- matt kane's brain techno radio at: http://hydrogenproject.com capoeira in boston http://capoeirageraisboston.com aim - mkbatwerk ; y! - mkb218 ; gtalk - mkb.dirtyorg
Re: (313) A friend's rant and my own, about techno
I think it's pretty simple: America is musically conservative, and when it comes to the mass market, it has to have vocals, and it has to have chord changes. Listening to and enjoying techno involves a different kind of listening than pop music. A case in point, my brother, who doesn't listen to techno, patiently sat (!) through one of my DJ sets, and then said 'it all sounded the same to me.' To say that techno is a musical cul de sac, that it is confined to a narrow spectrum of sound, is to ignore the techno that is adventurous and branches out from the primal oontz oontz. There's plenty of boring techno. My experience is that certain audiences demand it -- e,g, a lot of european club crowds. But it's unfair to judge a musical genre by its most pedestrian examples.
Re: (313) A friend's rant and my own, about techno
My comments aren't about ALL techno, just about the point of view of the movie + the reviewer. I have an inherent problem with claiming that techno is inherently more musical than house music, and that the particular artists chosen for that film are representative of techno. However, I'd venture that techno that is adventurous and branches out would no longer be considered to be Techno by many adherents of the genre. ~DP On Fri, Sep 4, 2009 at 1:07 PM, kent williams chaircrus...@gmail.com wrote: I think it's pretty simple: America is musically conservative, and when it comes to the mass market, it has to have vocals, and it has to have chord changes. Listening to and enjoying techno involves a different kind of listening than pop music. A case in point, my brother, who doesn't listen to techno, patiently sat (!) through one of my DJ sets, and then said 'it all sounded the same to me.' To say that techno is a musical cul de sac, that it is confined to a narrow spectrum of sound, is to ignore the techno that is adventurous and branches out from the primal oontz oontz. There's plenty of boring techno. My experience is that certain audiences demand it -- e,g, a lot of european club crowds. But it's unfair to judge a musical genre by its most pedestrian examples.
(313) A friend's rant and my own, about techno
Someone I know wrote a review of a movie trailer (Speaking in Code) that, for me, exemplified a deeply problematic view of techno versus house. *** Here is my friend's post: Short story: it's not been an easy journey to stay on target. There's a few things the electronic music world has going against it in terms of popular appeal. First off, there's usually no vocals. How many number ones in North America have you heard in the past few years that had no vocals? I'm slowly clicking through Wikipedia and coming up blank. There was that weirdo period in the '90s featuring Moby and Fat Boy Slim and the like that only featured samples, but I don't think the majority of the public realized they were samples -- they just heard weird, staccato vocals. It seems like we North American folk need a spoken narrative to get into music on a mass level. Techno doesn't have a vocalized narrative, it has an abstract narrative that diverges from the mainstream in that very basic sense. Techno enthusiasts, I would propose, operate on a generally more abstract level than just having a beat you can dance to along with a sung allegory of lost love or pursued-yet-unrequited love. Much along the lines of Western Classical enthusiasts, they giddily freak out about an unexpected bass-modulated, gated atonality, and derive blissful pleasure from well-placed syncopation and juxtaposing the minimal alongside the maximal. Even more modern architects have aimed for the same response with the physical environment. For instance, Frank Lloyd Wright's Unitarian Church in Oak Park creates a compressed-released feeling as one steps into the spacious nave from the sort of cramped '50s-ish dropped-ceiling lobby area. In that sense, modern, innovative electronic music is the new classical for the electronic generation. Classical is a misnomer though, as modern electronic music only refers to established patterns, but sounds not at all like anything classic. While house was happily based on reheating black disco, techno strove consciously to reject tradition and avoid copying previous forms... where house rejoiced in funky, soulful disco, techno was transfixed by Giorgio Moroder's computerized version, says author Bill Brewster in Last Night a DJ Saved My Life: The History of the Disc Jockey. Where house stole melodies and basslines wholesale, techno preferred to compose new ones from synthesized notes and layers of tiny, sampled sounds, supporting claims that it is a genre with greater musicianship. Techno is about going back first to principles, to notes and composition, to sounds and structure -- continuing the synthetic agenda laid down by artists like Depeche Mode, Gary Numan and Kraftwerk. And this is why I think techno has been so maligned... its purveyors are not re-hashing established hooks and samples for the sake of being popular and accepted, they are pushing the boundaries of music and emotion -- place and space -- and creating something new and exciting. Yes, that can be scary. No, there is no safety net. But yes -- it's completely thrilling. Let's see if Speaking in Code can convey this quintessential idea sympathetically to a greater audience in order to open up the world to a new way of thinking about innovative sound, sound arrangement, its loyal culture, and what is possible for the future. *** Here is my response: I call Bull$h!t! First of all, half of those artists make what is really techno-pop. I'm not sure how putting a few synthetic sounds over what is essentially a stripped down pop song structure really constitutes avoiding tradition. Furthermore, it sounds to me like Europeans are engaging in a form of subtle racism in their positioning of the relative value of techno vs. house, in their choice of European artists as opposed to American (often black) artists, and in stating that techno artists are inherently more likely to push the boundaries of music and innovate, while house music just rehashes things for the sake of being popular. Especially problematic is the idea that techno is a genre with greater musicianship. Furthermore, techno is clearly in a phase of rehashing as opposed to innovation, and very little of it could really be said to be innovative in any sense. Putting together a few clickety-clack sounds in Ableton to make a track is not exactly rocket science, and this is the year 2009, not 1989. If anything, techno is unable to innovate because it is limited by its inherently self-referential musical vision, with roots that really only extend back to Kraftwerk, synthpop, and industrial music. Rather than exploring new sounds horizons, techno tends to exist within a really narrow spectrum of sound, in the same way that the sound horizon of death metal is pretty much defined by loud guitar riffs and fast drum fills. I think techno needs to get over its sci-fi 1980's vision of reality and integrate more of the rich legacy of human music making. For me, that means techno should not be afraid to use
Re: (313) hedz up -- Monolake Atlas/Titan super-duper cheap
Cool...many thanks for this info. Nice idea. Wes http://www.myspace.com/westonprince http://network.technobass.net/profile/westonprince On 9/5/09 3:57 AM, kent williams chaircrus...@gmail.com wrote: I already bought the download for this from Boomkat for a whole lot more, but Amiestreet has it right now at a crazy price. Worth starting an account for. http://amiestreet.com/browse/music/monolake/atlas-titan/ If you haven't heard of Amiestreet, they have a pricing system where all tracks start out free, and the price goes up with popularity, topping out at 99 cents US. I don't know how it works out for the artist in the end but it's a good site for giving unfamiliar stuff a try. They also have a social networking aspect, where you 'friend' people, and a system where you earn store credit if you do reviews, but I already write reviews for a print publication and can't be bothered
