Re: [313] best christmas present for a dj...dj ho's
According to Miss Potts there is nothing DJ's like more than a good ole ho. mt turgan savas wrote: ok i know this is one hell of a lame topic. But i really need recommendations of cool but -cheap- presents for my dear dj friends. A cool thing that you would love to receive. They spin house, disco house, san francisco based stuff like siesta... also anyone know where i can find tshirts of siesta music? thanks __ Do You Yahoo!? Yahoo! Shopping - Thousands of Stores. Millions of Products. http://shopping.yahoo.com/ - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
munchman?
hi, got the Kraftwerk remix cd in the mail yesterday, nice... who is Munchman? take care, mt
Re: [313] Theorem moving to Berlin
Dale, you should start writing liner notes for Jeff Mills. mt np deepchord cd [EMAIL PROTECTED] wrote: apparently what you meant to say was: Is it [ impact ] I has found my MUSE in high blond Hotelmdchen of Berlin applicable, which is not designated Frauke [ impact ], which is it my missing left and is with their I [ impact ] I introduces itself many days of the meal of more weiner complete and hunter shreds together, with the berwachen soot of the factory rain down after us [ the impact ] Mom, please, tries, me [ impact ] this my head [ impact ] love, Dale [ end ] :) chris On Fri, 15 Dec 2000, Dale Lawrence wrote: Ja ist es [ Anschlag ] ich hat gefunden mein MUSE in einem hohen blonden Hotelmädchen von Berlin zutreffend, das Frauke benannt wird [ Anschlag ], das sie mein fehlendes Link ist und mit ihr bin ich [ Anschlag ] ich mich vorstelle viele Tage des Essens von weiner komplett und jaegerschnitzel zusammen, beim Überwachen des Russes vom Fabrikregen unten nach uns [ Anschlag ] Mom, bitte, versuchen nicht, mich [ Anschlag ] dieses mein Haupt [ Anschlag ] Liebe, Dale [ Ende ] God love Babelfish... I've heard that Dale Lawrence has moved to Berlin, does anyone know if that's true? If it is true then that's crazy because EVERYONE is in Berlin these days and Dale would certainly be in good company and add something interesting to the mix. Tosh *Real* translation: Yes, it's true [stop] I've found my muse in a tall blonde hotel maid from Berlin named Frauke [stop] She is my missing link and with her I am complete [stop] I envision many days of eating weiner and jaegerschnitzel together while watching the soot from the factories rain down upon us [stop] Mom, please don't try to find me [stop] This is my home [stop] Liebe, Dale [end] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] True People: Detroit Techno Comp
Hello, I believe that this comp came out in 1996 on Sony/React. I do not know for sure if it is in print or not, but I would bet that it isn't. I have not heard this comp in years, but I remember it as being a disappointment. Anybody care to comment? Also, did anyone catch Rob Hood or Pacou this weekend at Motor? Take care, mt np : Adult : Nausea R Vincent wrote: can anyone tell me how old the True People compilation is and if it is still in print? much thanks in advance! -robyn = For those who know stay low stay strong stay ready stay underground. For those who don't,learn. For those who'stole the soul',live in fear as the spirits will track you into your next life and beyond. Nothing good will come to you. - Mad Mike UR __ Do You Yahoo!? Yahoo! Shopping - Thousands of Stores. Millions of Products. http://shopping.yahoo.com/ - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Maus Stolle
Hello, Who are Maus and Stolle? I am familiar with everything else mentioned, but I have never heard of these guys, what have they done that is worth checking out? take care, Mike NP evax : glacier : putting the morr back in morrissey comp not 313, but still pretty darn good. Todd Gys wrote: I've always found old school dub music to be the most psychedellic of all music; they way King Tubby and the other great ones used flanger, delay, and reverb was incredible...and in my opinion, impossible to recreate with digital effects (as has been made painfully apparentl with most modern dub). So naturally I've gravitated to the dub infected sound of Maurizio, Maus Stolle, Basic Channel label, Chain Reaction, Thule, Klang, etc. Of course most of this isn't really rooted in Detroit, but hey, 313ers talk about it anyway =] For me, it's the minimal techno house sound heavy on well placed delays, dub chords, etc. that really gets the noodle thinking on another level. Juan's Starlight fits this to a T and that's surely d-town spawned =P I like my techno sparse and my d'n'b dense =] GYS np: Porter Ricks I personally would love to see something like goa-style trippiness and experimentation explored in Detroit techno. I've heard hints of it in a few things and its been quite fun. this sounds interesting.. can you give some examples? - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] 313: jazz-tech?
hello, Techno and jazz can very much share the same vocabulary if you look beneath the surface window dressings and look at the actual music. It is all about 7ths, 9ths, and 11th's using a I-II-IV chord progession. Techno can totally do anything musically that can be done in jazz. Yes, there isn't the use of poly-rhythm, or odd time signatures that is common in some jazz, and the musical structure is utterly rigid, but the chord voicings, progressions, and musical scales are totally compatible and even necessary for that good ole' Detroit'y feel. I-II-IV is about a jazz as it gets. I think Detroit musicians site jazz because of a similar emotional feeling. Because really, good techno is just a few bars of jazz dragged out for 4 minutes with a funky-a** shuffeled 909 rhythm behind it. take care, mt ps philosophical techno discussions are for wankers, I used to be one of those wankers until I discovered that talking about dance music is one of the most profoundly unimportant things you can possibly do. You are going to be dead in a few decades, stop wasting your time blabbling and fretting about this silly crap. err, ok, end of public service announcement. martin clark wrote: Date: Thu, 07 Dec 2000 10:41:56 +1100 To: darw_n [EMAIL PROTECTED], 313@hyperreal.org From: [EMAIL PROTECTED] Subject: Re: [313] ? Message-Id: [EMAIL PROTECTED] At 17:58 6/12/00 -0800, you wrote: i am sorry but itotally disagree with you. in everything i have ever heard/ read about d techno i do not see any relationship between d techno and improvised music or jazz. i agree. i think the answer as to why detroit producers want to be seen to be linked to jazz is in how they perceive it. There's a common afro-futuristic-struggle and emphasis on innovation aka 'meaning' in jazz that they want percieved in techno. But structurally they're far apart. Until you do some serious [sic] genre-welding, like the Innerzone orchestra. Which is no bad thing... martin np: Coltrane 'live at birdland' _ Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] scary stuff
techno, like every other facet of western culture is totally commodity based. Techno, like everything, is just another part of global capitalism, and works on exactly the same principles as any other business. Just cause you only sell 1000 pressings pressing does not make you any more holy than Warner Bros. The second you sell a record you are in the music business too. besides, At Les really does not give me urge to pull any Baader-Meinhoff style political actions... its all really boring, anybody bought a record worth talking about lately? no more wanking, mt And so be it, and visa versa, it is my desire to interpret what is happening. BTW, we have gone nearly 15 years with barely any analysis... and analysis is *definately* needed when a movement overtakes the entire globe, almost all authority figures are scared, so on and so forth... HELLO? this has just become very silly. i'm scared. i'm scared of funky techno. please don't let carl craig make any more music. it's scary. oh yeah. and those scary dudes detroit escalator. help. over and out p-d - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Another funny....
remember, the past is never far... * ani * wrote: this is funny as hell! and let's give a round of applause to all the females that *aren't* dj hos!!! (313 list girls included) ani record time [EMAIL PROTECTED] icq# 33610265 ph 810.775.1550 fax 810.775.5830 - Original Message - From: Diana Potts [EMAIL PROTECTED] To: 313@hyperreal.org Sent: Thursday, November 30, 2000 6:14 PM Subject: [313] Another funny thing I wrote. (yes it still regards music) http://www.neksis.com click on the how to be a DJ Ho piece there's still some changes that are needed, but its basically done. ENJOY diana _ Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Detroit Raves??
I do not know about anybody else, but I think 313 electronic soul music techno crap is for the birds. you have to be high to listen to that crap, everybody who sobers up get bored with it and moves on. I'm only in it for chicks, drugs, and a bit of notoriety. anybody going to jigglypuff 3? dj p00kie slappaho np : DEC : black buildings ep Michael Kim wrote: that was awful nice of you. how do you know s/he's not into the music? and who cares if s/he's not? a lot of people get attracted to the raves because of drugs, the scene, the reputation, whatever. what generally happens is that the people's intentions generally show in what they make of raves later on. there are people that get too old for the raves, there are people that get jaded, sure... but there will be the select few who really get into the music... even if they didn't appreciate the music to begin with. and to push that person into a stereotype isn't cool at all. Mike From: R Vincent [EMAIL PROTECTED] To: [EMAIL PROTECTED], 313@hyperreal.org Subject: Re: [313] Detroit Raves?? Date: Tue, 28 Nov 2000 16:48:56 -0800 (PST) no no no no... you have picked the WRONG list fellow raver this list is about music, not DRUGS, therefore it has nothing to do with the current raves you are searching for. I wonder if you even know what detroit techno is? Seeing as how most of the other ravers i unfortunately used to associate with were completely oblivious to it. --- [EMAIL PROTECTED] wrote: Hey everyone, i'm new to this mailing list so i'll introduce myself. I will go by the nickname Da Court Jester, if its not all ready taken, i am 16 and i'm looking for the most current raves that i can attend in detroit. If anyone knows of any PLEASE...contact me. Thanks. Da Court Jester (a fellow raver) - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] = For those who know stay low stay strong stay ready stay underground. For those who don't,learn. For those who'stole the soul',live in fear as the spirits will track you into your next life and beyond. Nothing good will come to you. - Mad Mike UR __ Do You Yahoo!? Yahoo! Shopping - Thousands of Stores. Millions of Products. http://shopping.yahoo.com/ - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] _ Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] DOMINATOR/Chi-towners would know
hey, There was another version of this record called the final dominator remixes on Radikal records. It came out around the same time and featured Rich Hawtin and Damon Wild remixes among others. I gave this record to steve lammers awhile ago, he might have more info. this is going to be a hard record to track down, weren't there about a million remix 12's of this track. It takes me back to when I first semi-discovered techno through a simon reynolds article on hardcore in an issue of Details in 92. That track was the jam when I was about 15. ;) take care, mike [EMAIL PROTECTED] wrote: on 11/24/2000 10:19 PM, Vladimir Grocic at [EMAIL PROTECTED] wrote: Can anyone tell me what the EXACT release # that was on an RS Human Resource Dominator REMIXES 12 that, I believe, was labeled black and white with just Dominator written over and over on the label? The particular remix I'm looking for was huge in Chicago circa 91-92 and was spun by everyone from DJ Ping(remember him?), Bad Boy Bill(Hot Mix #13), Julian Perez, etc, etc. I have purchased so many different releases of this track and cannot find the one I want. I only know of the Radikal Records release (RAD 50), which was purchased at Gramaphone about the same time (9/92). Side One: Dominator Original Mix - 4:56 Dominator Beltram Mix - 4:34 Dominator Frank De Wulf Mix - 4:41 Side Two: Dominator Frank De Wulf Mix 2 - 4:35 Dominator Mental Speed Mix - 5:16 Dominator Human Remix - 4:36 Marketed and Distributed by Hot Productions, Miami, FL 1992 Hope this helps. Alan used to bang this on Fast Forward, possibly in between Humanoids from the Deep, and Planet Earth, or was it Energy Flash, and Blow Your House Down? Dangerous House Music indeed... -- There4IM - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] recell/stasis '93 comp
Hello, I know the vinyl is utterly out of print and extremely collectable, but is this cd comp still in print? if not, andybody have a copy they would like to part with? thanks in advance, Mike Taylor davidk wrote: - Original Message - From: Minto George [EMAIL PROTECTED] To: 313@hyperreal.org Sent: Monday, November 20, 2000 5:03 PM Subject: [313] recell/stasis '93 comp Hi, could someone please post the tracklisting of this comp with track times. thanks, minto Here you go chap: 1. Waste Lands (Cmetric Cektion)Redcell1:36 2. Interim Redcell 6:56 3. One Thing In MindRedcell6:04 4. Soundtrack of Fear Redcell3:02 5. OuterimRedcell 3:13 6. Solar Winds Redcell 3:15 7. Point Of No Return Stasis 6:29 8. Funky Purple Hotpants Stasis1:34 9. I Think Its In HereStasis 6:18 10.Questions For V AnmananStasis4:42 11.V.C.F. Stasis 5:05 12.Funky Purple Hotpants (FTPD)Stasis3:55 13.Pauls Interlude Stasis 4:20 And a damn fine compilation it is too. Dake __ Do You Yahoo!? Yahoo! Calendar - Get organized for the holidays! http://calendar.yahoo.com/ - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Norken : Soul Static Bureau
Hello, I just picked up this album today, and I have to say that it is quite nice. It is a nice listening album with a remote detroit influence. very calm and listenable, one of the better records of the year. It is worth looking into if you come across it in your travels. Take care, Mike
Re: [313] That Pirelli ad track (was: Re: Ford and Atkins)
- Greg (Who can't understand how anyone could object to wider exposure for amazing tracks like No UFOs) I like the Beach Boys, when I hear Good Vibrations I think of Orange Crush. I like David Bowie, when I hear Heroes I think of Microsoft. I like Galaxie 500, when I hear Instrumental I think of Japanese cars. I like the Stooges, when I hear Search and Destroy I think of Nike Air. I don't want to be hear Strings of Life and have a mental image of that horrible little pepsi girl dancing at the club with Albert Einstein. :) take care, Mike
deep chord cd
hello, anyone have any info on the deep chord guys apart from the www.deepchord.com site? their releases are excellent. Here's a hint: Put up your right hand and stare at the thumb. not really, there are detroit based people as well, but I promised to keep my mouth shut. Speaking of, they've got a new CD out now. limited edition too, only 1,000 pressed. Is it a compilation of all of their releases so far, or are there any exclusive tracks. Deepchord's discography is interesting in that the first 6 releases on the label were dub plates. This CD is a collection of the first 6 Deepchord records. From what I understand these tracks are not going to be pressed to vinyl, so they are only available on the CD. If you would like to hear the tracks, they are available on the website. I'll be picking that up since I've missed the boat on this label but have been forced to ass shake any time someone drops it. Call down to recordtime roseville, there might still be a few copies hanging around, 7,8, and 9 are the only ones available on vinyl. Definitely a label worth checking out, I like their stuff better than most Chain Reaction. shake it fass, mt NP : Sutekh : Periods.Make.Sense I can't wait for tonight! - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Detroit Trance
since trance music is from detroit, what are the 10 best detroit trance records of all time? I dont mean Goa or isreali-psy trance, I mean specifically Detroit Trance. I am sick of that boring soulful kenny larkin crap, I want rippin' arpeggios, pumpin 909 kicks, and swirling psychedelic dolphin noises. ack, mt
Re: [313] X-101-2-3
Hey Ian, [EMAIL PROTECTED] wrote: on 10/26/00 6:56 PM, Sir Ethilrist at [EMAIL PROTECTED] wrote: according to an interview with jeff mills from 1998: X-101 were mike, rob and me, while X-102 and 103 were mainly done by rob and me. Interesting, because I hear Mike's influence most strongly on X-102. Possibly inspiration and education in the studio might have shaped Jeff's and Rob's efforts? I really do not think there is a might to it, I think the influence is pretty definite. The thing to remember about Mike Banks is that he is a straight up real studio musician, and is responsible for alot of people's careers in this city. Mike Banks was a session bass player before UR, as well as being a member of an old school Detroit funk outfit called Mike and the Mechanics(who according to TR(313faqfromhell) used to play kraftwerk tunes by hand.) There is not a doubt in my mind that Mills and Hood would not be where they are without Mike Banks. Does anyone know if Jeff or Rob had produced anything prior to UR involvement? (I should know this, I know...) Jeff Was involved in an industrial group called the Final Cut, which was on Interfisch(which is the parent company of Tresor) along with Clock DVA among others. Jeff met Mike Banks through session work on the first Final Cut record. Ask around, I know mutual friends of ours own these records. Rob might have previous releases, but they has never been mentioned in the 5 years I have been on this list, and nobody I know is aware of them if the do exist. take care, mt PS What is still in print in Kenny Larkin's Discography, specifically, are Metaphor or Seven Days still available in any format? -- There4IM - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Mellow Mills (liner note dribble)
hello, I think the real problem is that he has read a bit of R. Buckminster Fuller, and has tried to emulate Fuller's very peculiar way of expressing himself. If you can get your head around where he is coming from, Fullers style is not dribble at all, in fact it is probably more effective and accurate than standard english. I would imagine that Mills picked up his fancy for Fuller during his university days as an architecture student. The problem comes when a hip-hop dj from Detroit tries to sound like a Harvard educated polymath and philosopher...heavy on form, not much substance. take care, mt Scott Vallance wrote: re: jeffs liner notes on his records: am I the only person that thinks its all total dribble? I mean, really! no I definately think its dribble, have you read the lifelike compilation notes? *sheesh* If he wants us to know about him, why doesn't he just talk a bit about his life, his family etc etc All this intellectualising gives no insight into him except to say he's a bit full of it. ScottV. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
AE biography on ben sims?
Yes, Excellent timing...Ben Sims has his own episode of AE's critically acclaimed Biography series. It will be premiering sometime next week, between Wilford Brimley and Tutti from Facts of Life. Take care, Mike Taylor I just want to be sure i have the correct information for our press release. danke in adv- jeff - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] (relatively) unknown detroiters
hello, One cat nobody mentions any is Greg Campbell. Most people think of Carlos or Clark Warner when they think of downtempo detroit Dj's, but Greg's been around for awhile deserves more props and bookings then he is currently getting. For the people who are doing downtempo nights in the area, book this guy on the double! take care, mt hans kaufmann wrote: Those guys get play and recognition in the housey house world already, I wanna see the following get some props. Bone Twonz all the guys named Mark-Floyd, Flash, etc. Carlos Souffant all the guys on www.Paxahau.com Derick Plaslaiko and on and on These are the future of Detroit and should get more attention. Hans On Thu, 12 Oct 2000 12:32:45 -0400, record time wrote: hi all, i think there's a lot of artists/djs in detroit that don't have the name recognition or hype that gets attached to some of the bigger names. a few people come to mind (yes, they're all house): theo parrish (people in the uk are just getting turned on to him) alton miller mike huckaby mike clark kenny dixon and probably a dozen that don't come to mind right now... my $0.02 ani :) - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] Hans Kaufmann Teknarke Management 620 Baker #5 San Francisco, CA 94117 (415)885-3422 (415)786-7408 Mobile ___ Say Bye to Slow Internet! http://www.home.com/xinbox/signup.html - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Re: Mixing and musical structure
hello, I guess it all depends on what you mean by internalizing. If you do not count time, or are unware of it, chances are you probably suck. If you can count time and be aware of bar changes without it taking most of the space in your conscious mind you are probably better off. It used to be that I would have to use my fingers to count the bars while counting time, then I counted them verbally in my head, and nowadays in the back of my mind I just see that bars coming and going while I think about other things. You are both right in a sense. You have to be aware of time, but it cannot be all that you are aware of. I saw isotope 217 play a month or so ago, their structures were alot more complicated than the usual dance stuff. I had a very difficult time keeping up with everything that was going on, it was very pleasant actually, been a long time since I have heard something that made me feel absolutely bewildered. why does music seem less magical the more you understand how it works? I will shut up now. take care, Mike Hillegonda Rietveld wrote: Hillegonda; Yes, it helps to know about musical structure before embarking on mixing - how otherwise can one distinguish beats, bars and sections? [EMAIL PROTECTED]: - wut? you actually just need to be able to count. - I hope you're joking - what do you count to? 3? 4? one bar? 15? counting is for nippers in toddler trunks who are in learning stage - when you actually DJ, you need to have internalised the structure and other aspects of your musical selection. Only then can you play from the heart, be the music and play with flow rather than act out some sad calculator without direction. To use a parallel example: if you are in the middle of some busy traffic, do you count distance, speed and accelleration when crossing the road or overtaking a car? I hope not, by the time you'd rationally achieved that, you'd be dead. Hillegonda. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] -- Michael Taylor : [EMAIL PROTECTED] http://www.billionairesforbushorgore.com
is 313 the new alt.music.techno???
it is starting to feel like it.
keoki iz kewl
iz keoki hard houze or iz he lik djadum buyier? i dg hiz beetz, y0 where is my crack pipe?
Re: [313] who stole the soul?
Hey Ken, a. it was a joke, I happen to be a blue-eyed devil myself. b. that message was sent offlist, it is rude to post private mail. c. Race does have a lot to do with it. White folks who were raised on pop music do not want to hear soulful dance music because it is too much of a stretch from the music they normally listen to. Brothers are not going to the trance parties, it is white kids. Trance music is pop with a kick drum, it is white, dumb, and musically unadventurous people that love it. And don't tell me that Humpty does not draw a very dumb and unfunky white crowd, I know you know better. People go to motor to drink and hit on chicks, they are not there for the music, if you analyze the crowd and think about what you are seeing, you will come to the same conclusion. these days many black people do not support the stuff because it is not perceived as black enough, or soulful enough. D-wynn does not even play good records on saturdays, he plays for a motor crowd, which is dumb and white. It isn't a pleasant thing to say, but it is the truth. Another thing, and this is going to get me in huge trouble, but who even wants to go to motor anymore? Honestly, everyone I know is bored to death of the place, and the only reason anybody still goes is because there are no real alternatives. As for why Detroit doesn't support its best and brightest, I can think of a number of reasons. For one, intelligent techno people are getting old, even us newschool youngsters who were into it in the mid-90's are getting older. We have jobs, some of us have kids, and we all have responsibilities. Also, most of us who have been around long enough to know the difference between Humpty and Dwynn are starting to get bored with the whole idea. How many years to you have to hang out at the club before you start to get the idea? Third, times are changing, people are not going out like they used to, it is 1982 again, just look through a new issue of Vogue. music is changing, it isn't 84 anymore. The crowds in detroit are totally segregated, commercial radio is totally segregated, unless you are Eminem or racially anonymous (godfather) you aint getting played on WJLB. 96.3 or 89x wont play you unless you are white, or you music is completely and utterly white(re hootie) radio is putting people into their particular racial boxes, and they are not listening outside of those boxes. Black people go to the cabaret, and white people go to raves. This is hitting anybody who is playing music that does not fit into one of those boxes really hard. Techno isn't purist black music, there is a ton of white influence in Detroit Techno, it is Kraftwerk and Parliament in an elevator. It is too black for the white people who do not want to stretch, and too white for black people who want to hear black music at the club. The crowd that did support it is getting old, like it our not, our scene is aging, and young kids are not taking up our slack. I say it is just as well. How many more 909 records do we really need? Derrick May was right, this dance music does not have the charisma to last. If you think things are bad now, wait another 5 years. it has been beaten to death, and it isn't special anymore. oh wow, another 12 dance record, and the reverb algorithms that is in fashion this season are so much better than the reverbs they were using last year. Wow, instead of using 909 closed hats, they are using acoustic hats to play the exact same shuffled 909 rhythm. How many dance records are actually techno? aren't you sick of knowing that the break will come every 8 bars, and that there will probably be a breakdown every 64 bars...? There are all these rules for making a proper techno record, and it is just so tired and boring. I know that I sound like a bitter and jaded old-young man, I accept and acknowledge it. The reason I am such a jerk about it is because I do care about music, and I take the things that people like derrick may said about techno back in the day seriously. People are just rehashing the same f***ing record over and over for money or status. all these records that are coming put now are raping and s***ting on something that was once special and pure. Where is the real innovation, people make the same track over and over, they just process it a little different, put some different drum sounds on it, and they are lauded as geniuses. The reason people are not coming to the club anymore is because detroit is not making music that is so vibrant and irresistible that people feel they need to be at our gigs. Detroit needs to go back to Deep Space and bring something back that is so out there that people will go nuts for it. Who cares if there is another slammin dance cut, there have been a million slammin cuts, it is time for a new Detroit sound. We need to make a new style that has its roots in techno-soul, but is reaching further out. It is time for Detroit to create another futuristic musical language, cause the old
Cim and Defocus
Hello, Phonopsia wrote: I must second the late respect-due. Picked this up about a month ago. Pretty grrovy stuff I must say. And it's amazing how much music you can pack onto one slab of wax. I know what you mean, but I would give my left leg for CiM to write longer tracks. I totally love his music, I just wish I could love it for longer. Please Simon, write a few 8 minute tracks for us, Pleeze!!! ;) While we are on the topic, has anyone heard that new limited edition John Tejeda 12 that came out a few weeks back on Defocus? Defocus is turning into one of my favorite labels, the Lackluster and Metamatics records are so good. ...gees this is off topic take care, mt Tristan == PHONOPSIA[EMAIL PROTECTED] http://www.geocities.com/SunsetStrip/Lounge/5102 FrogboyMCI on AOL Instant Messenger New Album, Québécois, online now. -Original Message- From: Oliver Barkovic [EMAIL PROTECTED] To: Tim Barr [EMAIL PROTECTED] Cc: 313 list 313@hyperreal.org Date: Friday, September 29, 2000 10:19 AM Subject: Re: [313] PS Hey!!! Picked up the CIM comp album (Reverence err I forget) last night!!! Fantastic!! Isn't he on the list?? If you are on the list great job, I never seen any of your Focus 12's around here but email me privately and we can talk. I saw that Tom's name was on the back of the album. Ollie Tim Barr wrote: It's getting close to Christmas and still no Tom Churchill album. Please Tom, u don't want to see a grown man cry do you? Love Tim -- Michael Taylor : [EMAIL PROTECTED] http://www.billionairesforbushorgore.com
innovation? Re: [313] Let's Talk Techno
What do u mean by truly innovative. I think that there is nothing in between something that is innovative and something that is not. Innovative is just making changes in anything established. So i cant see why Carl Craig isn't innovative, u just have to listen to Innerzone orchestra Programmed. sam Brian Eno has borrowed a very interested theory about cultural innovation from the academic world. He does not believe that innovation is a singular personal process, rather, it is a larger process of cultural composting. In other words, there are no new musical ideas, but the more records that are made, the more these ideas pile up and cross breed with one another. Eventually those records become forgotten about, but the ideas they contained were broken down, and went on to become the building blocks for new records, which will be eventually forgotten about... The best way to explain this would be Detroit Techno. (big disclaimer, RELAX, I LOVE Detroit music, take a deep breath and step away from you computer before you flame me...) My favorite music in the world is Rhythim is Rhythim, I love those records more than anything else out there. Derrick May claims to be an innovator, but was he really? Derrick May did not really invent anything, he never used any chords that had never been used before, he never made any rhythms that did not previously exist, he never used any sounds that had not been used before... What he did do is take a bunch of ideas that already previously existed in different musical genres, and put them together in a way that was personal to him. Detroit Techno is nothing but electro, italo-disco, new wave, and funk thrown into a blender. Was Techno completely new? No, not at all, it was a continuation of the African American musical tradition, with elements of European electronic music blended in. What he did was incredibly difficult, he took a bunch of different ideas, from genres that most people would not think to put together, and weaved those existing threads into something that was uniquely his. Nobody is truly innovative they got their ideas from previously existing records, and put their own personal twist on something that was already there. Think about how much music was released between James Brown's best moments in the 60's, and Juan Atkins' work in the 80's-early 90's? How different are they, how much are they the same? Kraftwerk was 60 minimalism and James Brown, mixed with baroque melodies, and what was going on in the 70's German electronic scene...any musician who matters stole from their heros...is anything really new and innovative? Did Carl Craig not borrow from Derrick May, Hip Hop, and Miles Davis through his various guises? The point that I am trying to make is, that we really need to calm down about who is and is not innovative. New music does not just appear out of thin air, it grew out of the influences of the producers who made it. Nobody in larger cultures writes music that does not make a reference to somebody else. I love Detroit Techno, but like all genres, it grew out of the past, it does wear its influences on its sleeve. Take care, Mike Taylor -- Michael Taylor : [EMAIL PROTECTED] http://www.billionairesforbushorgore.com
