Re: [313] no one should be afraid of detroit
Another person scared of Detroit. Wow, that's new. I have never heard that before. =P a. = DJ T-1000 The Last DJ On Earth Mix CD March 2001. Hyper-Stylized Life vinyl EP May 2001 from Pure Sonik. Alan D. Oldham The Sexy Adventures of Orietta St. Cloud full-color comic and soundtrack CD from Tresor Berlin (release TBA). This is Pure Sonik Records. www.puresonikrecords.net
Re: [313] JEFF MILLS-MARCH 1
In a message dated 2/2/01 9:53:25 PM, [EMAIL PROTECTED] writes: err, no i don't. see, that's the whole thing about opinions. each person's is as valid as the next, be they innovator, inventor, or first-time listener. Ever been to a movie you didn't like? Better yet, ever seen a movie billed as innovative or a classic that you didn't like? I highly doubt you've directed a feature-length motion picutre which has recieved national distribution. Yet I bet you'd feel free (as a bird) to voice your opinion if you thought a movie was crap. The whole idea of having to pay some sort of unattainable dues before you're entitled to voice any sort of criticism is ridiculous. You may be ALAN OLDHAM, but your position as a figure of some importance in the detroit scene doesn't place your opinion above any of ours. if you'd like to start a dialogue where we discuss Jeff Mills's current performances in relation to his past works, I'll be more than glad to participate. But hovering in the background and coming out to tell us all to shut up just doesn't work. chris blah blah blah.
Re: [313] JEFF MILLS-MARCH 1
In a message dated 2/2/01 9:57:30 PM, [EMAIL PROTECTED] writes: Re: the ongoing debate about Jeff's mixing skills, he is one of the most innovative electronic music talents of the 20th Century. Until you all invent an entire sub-genre of techno music (lock-grooved, loop techno) and a host of imitators, you need to keep your criticisms to yourselves. err, no i don't. That's your right. God Bless America ! see, that's the whole thing about opinions. each person's is as valid as the next, be they innovator, inventor, or first-time listener. Ever been to a movie you didn't like? Better yet, ever seen a movie billed as innovative or a classic that you didn't like? Blair Witch filled that bill. I highly doubt you've directed a feature-length motion picutre which has recieved national distribution. Yet I bet you'd feel free (as a bird) to voice your opinion if you thought a movie was crap. Well, the thing is, not only did I major in Radio-TV-Film at Wayne State, a classmate of mine from those days is now a film professor at USC (and had a co-writing credit on the film The Wood as well as a cameo) and my best friend in LA is a screenwriter and former assistant to John Singleton (Boyz N The Hood). That same friend has been telling me for years I should come out to LA and storyboard (because *snicker* I can draw too). Plus, I'm a published writer (Mixer, Psycomic.com). Not film criticism, granted, but I could probably do that too if given the chance. Plus I used to know Elvis Mitchell (New York Times or The Voice film critic, can't remember which) when he lived in Detroit ! We got our comics from the same place. Great analogy ! Next. The whole idea of having to pay some sort of unattainable dues before you're entitled to voice any sort of criticism is ridiculous. You may be ALAN OLDHAM, You're damn right I am. HA ! but your position as a figure of some importance in the detroit scene Hmmm, the jury's still out, there ! I think Sean Deason is more important than I am. He played DEMF =) doesn't place your opinion above any of ours. if you'd like to start a dialogue where we discuss Jeff Mills's current performances in relation to his past works, I'll be more than glad to participate. But hovering in the background and coming out to tell us all to shut up just doesn't work. Sure it does. Are you out here doing better mixes than Jeff ? Making better records ? The whole idea of this thing is DIY. Anyway, if folks can get on here and criticize, then I can critique the critics. A vicious cycle, but then, this is a free country. Supposedly. Aside: I have been working my a** off in the studio and DJing, and my GF has been fwd'ing me posts from 313 and it's been so interesting I decided to resub for awhile. Aren't you glad ? Blame her ! AND to the person who asked what lock-groove, loop (aka bangin) techno is, the first record ever with lock grooves was Jeff Mills Cycle 30 on Axis. This release and others from Mills (Live at the Liquid Room, Waveform Transmissions) single-handedly inspired the entire early sound of British and Swedish Techno (Surgeon, Regis, Oliver Ho, James Ruskin, Marco Carola, Adam Beyer, etc.) AND, Misstress Barbara banged the living s*** out of Motor tonight. AND, I got to hang out briefly with my hero, the genius of modern music, Stacey Pullen (who was also off tonight). a. = DJ T-1000 The Last DJ On Earth Mix CD March 2001. Hyper-Stylized Life vinyl EP May 2001 from Pure Sonik. Alan D. Oldham The Sexy Adventures of Orietta St. Cloud full-color comic and soundtrack CD from Tresor Berlin (release TBA). This is Pure Sonik Records. www.puresonikrecords.net
Re: [313] submit designs for list t-shirt
In a message dated 6/5/00 7:20:49 PM, [EMAIL PROTECTED] writes: I second that idea!! =) _g l y p h_ In a message dated 6/5/00 8:58:03 AM, [EMAIL PROTECTED] writes: How about asking someone like Alan to design the shirt. If his art style hasn't been synonomously (sp) linked to Detroit I don't know what has? I don't know if he would do it, but we could ask him. pw Yeah, right. === I wanted to be a star, not a gallery mascot. -- Jean-Michel Basquiat 1987. www.puresonikrecords.net
Re: [313] industrial vs. hip hop and Astrelwerks
In a message dated 5/25/00 8:40:19 PM, [EMAIL PROTECTED] writes: a conversation that started between dave the wave dresden and i @ wmc this year centered around how people got into the scene, and i started an informal poll while i was down there. ratio? about 60% industrial, 40% hip hop. I don't see how anybody, fan or producer, can come into techno via hip-hop. Except for Shake. Techno, at least Detroit Techno, is the antithesis of hip-hop to me, Ghettotech notwithstanding =\ The Depeche Mode/Kraftwerk-into-Industrial-into-Techno progression I can see though. == Play Loud. Spin Hard. Log On. www.puresonikrecords.net
Third Wave was: industrial vs. hip hop and Astrelwerks
In a message dated 5/25/00 10:37:58 PM, [EMAIL PROTECTED] writes: I have tried and tried to get it on vinyl and have been told that it isn't available on vinyl and that it wasn't even pressed. They lied, vinyl was pressed. Want an autographed copy ? =) a. === Play Loud. Spin Hard. Log On. www.puresonikrecords.net
Re: [313] industrial
In a message dated 5/24/00 1:24:03 AM, [EMAIL PROTECTED] writes: AO, what have you got to say about old industrial stuff from way back when? I used to love industrial. Every summer in the mid-80's during the big Chicago Comicon (this was when I was a comic artist), we'd drive out to the old Wax Trax record shop in Chicago to get the new industrial wax. I was into Ministry, Front 242, Revolting Cocks, all of the Jourgensen/Barker side projects (Lead Into Gold, 1000 Homo DJs, etc.) My radio station got sent all the Wax Trax stuff too, so I kept up with all of it. Nettwerk was big with me too, with Skinny Puppy, Severed Heads and Moev (their first album). I interviewed Severed Heads. Nerds ! I used to play Single Gun Theory every week on my show, that was a fave. Those Stephen R. Gilmore album covers ! Every so often, I'd find the original European/Australian label copies of most of this stuff in different record shops. It was exciting because the track listings and art differed from territory to territory. For instance, the Red Rhino version of Front 242's Official Version was different from the Wax Trax pressing, which was different from the final Sony repress. Now with the EU and FedEx/DHL/UPS, and the advent of CDs all records are the same, everywhere. And with the Net, you can find anything. Aside: Does anyone have a copy of Baby Ford Ford Trax 2x12 on Rhythm King they wanna sell me ? I was a big fan of Factory, too, they were known for that. There are like a zillion different versions of Unknown Pleasures by Joy Division. I still have Section 25 Looking From a Hilltop (UK pressing), woefully out-of-print. A Certain Ratio's back catalogue was repressed a few years back by the late Creation label though. Front 242 was the direct influence for Underground Resistance. I was the opening DJ when they came to St. Andrews on their Front by Front tour, and Mills was there. They were straight-up terroriSoon after, Riot EP. Anybody remember Code Industry, the Black industrialists from Detroit who were on Antler-Subway back in '90 ? Well, before that, they were Code Assault, and they were on my label, Technika. That's how they got that deal. It was the first time I got fucked over in the music business, but not the last. Jeff did a b-side industrial remix on them for me that was the shit in its day. I haven't listened to it in ages. Blah Blah Blah. Alan
Re: [313] tune info
In a message dated 5/23/00 6:41:31 PM, [EMAIL PROTECTED] writes: the track is on the RS Records Compilation Order to Dance III. there it says: N-Joi malfunction (Champion - Franklin) prod. by N-Joi Publ. by Virgin Music - copyright control probably just licensed to RS, but i am sure it was released on there! N-Joi was on RCA/BMG in the UK, which is where the full EP saw release. Saffron of the group Republica got her start singing for them. === Play Loud. Spin Hard. Log On. www.puresonikrecords.net
Emanon
Dude, I'm sitting here listening to the Biorhythms compilation (Network UK 1990), specifically Derrick May's track Emanon. This is the banginest, most funky shit you could think of ! Pitched to +8, it could still be played out today (and will be, starting tomorrow night). If Derrick came back right now this minute with new shit that sounded just like this, he'd still be the man. Where is the new Rhythim is Rhythim album ? And why wasn't this track included on Innovator ? Hope to see some of you at my b-day party tomorrow night. === Play Loud. Spin Hard. Log On. www.puresonikrecords.net
Re: SV: [313] Emanon
In a message dated 5/20/00 1:03:48 PM, [EMAIL PROTECTED] writes: it was included on the promo cd release :( cd 1, track 12: emanon begins cd 2, track 11: emanon ends Sounds like it was all cut up anyway. I hate when he does that. He did that to Phantom (A Relic). alan: happy birthday in advance!! Thank you ! richard wihlmer stockholm, sweden Ah, Stockholm. The new home of Detroit Techno =) Say hello to Joel Mull for me. === Play Loud. Spin Hard. Log On. www.puresonikrecords.net
Re: [313] the return of +8?
In a message dated 5/19/00 1:35:28 PM, [EMAIL PROTECTED] writes: p.s. anyone know when the speedy j on plus 8 is coming out (t1000?) I've got a white of it and have been banging it out for almost 2 months. No release date on the record. I don't go record shopping very often so I assumed it was out already. === Play Loud. Spin Hard. Log On. www.puresonikrecords.net
Re: [313] OT: TR-808/Flam
In a message dated 5/17/00 4:15:00 PM, [EMAIL PROTECTED] writes: From: Rhythm Droid [EMAIL PROTECTED] To: [EMAIL PROTECTED], 313@hyperreal.org, [EMAIL PROTECTED] Subject: [313] OT: TR-808/Flam Date: Wed, 17 May 2000 11:37:12 PDT Sorry if we've gone over this, but can the Electribe-R flam? do you have to fiddle with thte Scale function to do it, or what? The best thing to do would be to throw it in the agrbage and go buy an 808. Such hostility ! Back in the day, all that din sync Roland x0x stuff was obsolete due to MIDI, that's how the Black and Latin Detroit, Chicago and NY guys got hold of that 1st shit so cheap (at that time our white friends were down with Krokus and Dokken and chanting disco sucks at ball games). They turned it into techno, house, hip-hop. So it ain't what you got it's how you use it. Derrick May did more with a DX-100, a 909, a cheap efx box and a reel-to-reel than most cats w/ full studios. Go on witcha Korg Electribe and rock some shit. === Play Loud. Spin Hard. Log On. www.puresonikrecords.net
Re: [313] Wanted: TR-808, an alternative
In a message dated 5/16/00 11:11:32 AM, [EMAIL PROTECTED] writes: Just curious, in your opinion, of the drum machines being produced today, which would be a good substitute? Anybody like alesis machines or the emu orbit? Let me chime in here real quick: I've been a fan of the Novation Drum Station for years now: it's been on all my Pure Sonik records, but don't hold that against the machine =) Emulates 808 and 909 kits, sounds just like them, and relatively inexpensive. That Looking For The Perfect Beat cowbell ? It's there. Mine's old, the latest version can only be better. The Orbit is sweet. It was earning its keep from the minute I took it out of the box. it's all thru Progress. The next module I get is the Carnaval, Orbit's Latin sister machine. DJ T-1000 A Pure Sonik Evening is Record Of The Month in Raveline GER this month, by the way; the DrumStation hard at work. Alan (in a production lull) === Play Loud. Spin Hard. Log On. www.puresonikrecords.net
Re: [313] Re: Wanted:TR-808, an alternative
In a message dated 5/16/00 1:05:32 PM, [EMAIL PROTECTED] writes: oh no! now there'll be a run on th ER1's!! :^) I see em on Ebay quite often. thats where I got mine. $275 US is a good deal used. $350 new. sean I'm hooked on eBay now. All my new pieces are off there ! Alans is right about the DrumStation. perfect reproduction, but I miss the 16 step sequencer and swing and tap recording and flam and and and... Yeah, yeah that's for wimps. Funky-ass step-time sequences, random notes then quantize, just like Derrick May, baby. R-8 and 909 hi-hats together, panned left and right, flying all over the place. I love techno. === Play Loud. Spin Hard. Log On. www.puresonikrecords.net
European Tour 2000
Hello All, I'm on DJ tour in Europe from 7/5 to 7/15. Unfortunately, my 7/10 (Monday night) date in Berlin fell thru. Any promoters out there want to pick up the date ? I'm open 7/14 (Friday night) as well. I'll be based in Berlin during my stay, which means cheaper flights for you. Mail me back privately ! Alan === Play Loud. Spin Hard. Log On. www.puresonikrecords.net
A Pure Sonik Celebration
Saturday 5/20/00. Just Moved from Toronto to Detroit ! A Pure Sonik Celebration/Alan Oldham's Birthday Party. The bangin' techno sounds of the undeniable DJ T-1000 on three decks/EXCLUSIVE Detroit appearance (Pure Sonik Detroit/Tresor Berlin). The Return of Mike Dearborn (Majesty Recordings Chicago). And introducing DJ Elektra (Toronto). Intimate venue. 300 capacity. If you want to hear trance, stay the fuck home. For more info: www.puresonikrecords.net Infoline: 313-788-5718. Special thanks to Michelle Banks. Das Ist Alles.
Re: [313] old tresor albums by detroit artists
In a message dated 5/11/00 12:27:08 AM, [EMAIL PROTECTED] writes: But check it out...I'm interested in picking up copies of the other old school Detroit releases early in the Tresor catalog such as X-101, X-102 and the Eddie Fowlkes stuff. Can't find it anywhere though. I'm assuming it's probably out of print. www.tresorberlin.de I think they still have a bunch of that stuff laying around the office =) Alan === Play Loud. Spin Hard. Log On. www.puresonikrecords.net
Re: [313] oliver ho (was Re: [313] rolling?)
In a message dated 5/10/00 1:19:27 PM, [EMAIL PROTECTED] writes: new oliver ho album? is it on meta? can anyone give me info on this one? thanx I just got a hold of the EP on Sequential. Hot, very tribal, I'm diggin' it. Also got a copy of Karl O'Connor/Peter Sutton album on Tresor. A couple of good tracks on it, but by and large this is the kind of stuff people refer to when they say they don't like techno. a. === Play Loud. Spin Hard. Log On. www.puresonikrecords.net
Re: (313) marco corola and whistle 3
In a message dated 5/9/00 9:34:55 AM, [EMAIL PROTECTED] writes: why would you goto philly when you can goto DEMF??? Freedom of Choice, man ! Plus Ishkabibble's cheese steaks. And finally meeting Marco is a definite plus for me. and you forgot to mention that our beloved T-1000 will be at whistle 3. Well, not that beloved amongst my peers, but the kids are a different story. Thanks for the thought. =) jeff a. === Play Loud. Spin Hard. Log On. www.puresonikrecords.net
Re: (313) New Purpose Maker
In a message dated 5/3/00 2:53:07 PM, [EMAIL PROTECTED] writes: I'm surpised no one else has mentioned this yet, is it cause everyone just buys these without listening? Or does no one talk about them cause they all sound the same now ;) For a long time on this list it was Jeff Mills overload ! I guess people figure that everything that could be discussed about Jeff *has* been discussed. He was cool enough to send me a package, though, Circus included. I'm all off into rocking doubles of Call of the Wild, though. The absolute shit. a.
Calling K-Hand !
Kelli, I thought I knew your e-mail address Mail me back. a. www.puresonikrecords.net
Re: (313) D.E.M.F.:question
In a message dated 5/2/00 6:07:30 PM, [EMAIL PROTECTED] writes: Don't feel bad, there's a lot of people who've been in Detroit from day one that aren't being included in this event. It's just another weekend. Hear, hear. a.
Re: (313) Women in electronic music...
In a message dated 4/26/00 12:33:51 PM, [EMAIL PROTECTED] writes: ...oh I've just remebered Miss DJax, head of the all the DJax labels, former record shop owner and DJ in her own right. Again I think you're best to check the DJax website to get more info...sorry can't remember the address, but it's on all the most recent DJax-Up-Beats releases. www.djax.nl Also there's an ongoing discussion about women in electronic music on Jeff's website, www.axisrecords.com Gotta run, plane to catch. a. www.puresonikrecords.net (where there are links to both)
www.puresonikrecords.net
After a short hiatus, we're back up and running with a few new features. If you're curious where I'm playing next, check out the tourdates page. As always, (good) feedback is appreciated. =) Thanks, a.
Re: (313) a DAN BELL celebration NYC/db cd
Dan Bell's mix CD is far from boring. I thought it was very swinging and very deep. He manages to mix lowtempo, experimental techno and vocal house together. This one vocal track on there by The Problem Kids is the absolute shit...I'd tell you the title but the CD is in my truck (where it's been since I got it). Also, the end track by Shake is very funky. The Button Down Mind of Daniel Bell is on my top 10 list...as soon as we get our site back up. =) Later, a.
Romeo Must Die (was: replace barbie with ken)
In a message dated 4/19/00 8:09:44 AM, [EMAIL PROTECTED] writes: I've been wanting to see Romeo Must Die for a while now, but the reviews are so mixed I don't know what to do. How many of you saw it and thought it was The Shit' (©2000 Sean Deason/Matrix records) I saw it and whoever didn't like it is *full* of shit (neatly avoiding trademark hassles by not using the 'the' prefix). Jet's fight scenes were a little Jackie Chan/found- objects-as-weapons-esque, but the film overall was noirish and very stylized and Aaliyah was incredible. The plot became transparent in the third act of the film but it looked so good, it didn't matter. Its Romeo and Juliet subtext was a bit of a stretch, too; in this movie, they weren't lovers (I still like the visually tricked-out Baz Luhrmann alternate-Earth version with Leo and Claire Danes though). The film was set in San Fran and why am I talking about this movie on 313 ? Alan (woken up by upstairs neighbor's mini-revival meeting; wait till I start working on my album)
Re: (313) New album/Romeo
In a message dated 4/19/00 9:42:43 AM, [EMAIL PROTECTED] writes: Okay Alan, on your recommendation alone As you should =) I'm gonna check out Romeo Must Die it sounds pretty cool (even if it's not a fictional film on the bombing of Kid Rocks trailer park). I've been a huge fan of Jet Next Best Thing to Bruce Li ever since he kicked Mel and Danny's asses in LW4 (the only good thing about that entire movie). The Black Mask was a bit too Green Hornet/Batman for me (even had a cute reference to Kato) but Jet still shined like a star. sean I'll grant that Jet's HK movies I've seen are better than his Hollywood stuff so far (we rented Fist of Legend and really dug it), but yeah, I really liked Romeo Must Die. BTW Jet will be in The Matrix (the hottest movie of 1999) 2 and 3. Oh, and Cyclone will like Black White (the flick about wiggers--oops--wiggas--imitating rap culture), though it'll be a while before that makes it down under. Judging from the ten or so people at the theatre when we went, it might be more sooner than later. The only reason I'm even talking about this on 313 is revenge for sitting thru/deleting that inane Barbie as-capitalist-tool/commodification of DJ culture thread. How about a new list: 313 Cinema ? Discussion on the movies on Jeff's website ? OK, I'm done now. =) a. www.puresonikrecords.net
Terrence Dixon (was: Mixer US reviews in advance)
In a message dated 4/12/00 9:42:46 PM, [EMAIL PROTECTED] writes: (Dixon's co-production on Juan Atkins' 1998 Skynet album, for various reasons, went uncredited, which led to this project on Tresor). This doesn't surprise me. Skynet was the first thing that came to mind when I listened to Far Future on Cognition. What's the deal with Terrence not getting his credit? I don't have any particular insight into that one to be honest, I just know that Terrence worked on Skynet. Also, this had led me to think: Considering the (perceived) similarity between the two albums, did Terrence have more input into Skynet than we are to believe or did he manage to come away from that project with a new view on making music thanks to Juan? Reading your first sentence in the review, I take it, Alan, that you'd agree with the latter? Well, it's still the same Terrence Dixon who did the records on Dow, just with better gear. And after all this time, you can't help but get good. Look at me ! It's only taken me 10 years to learn to make good tracks. More likely, Terrence was working on these tracks at the same time as the Skynet album. Anyone know more? water torture beats (KDJ, Theo, Alton Miller, etc.) I guess this makes me a masochist ;-) Don't get me wrong. I like KDJ and those cats. I loved Silent Introduction. It's just more listening-oriented to me. When I am off from DJing and want to hear some good, bumpin' house music at a club, I look no further than Stacey Pullen's residency at Motor. His nights always seem to coincide with a) me being home and b) my girlfriend being in town. Respect JasonB a. www.puresonikrecords.net np: terrence dixon untitled
Re: (313) movies that were filmed in Tha D
In a message dated 4/13/00 2:30:46 AM, [EMAIL PROTECTED] writes: in dan sicko's book he mentions that robocop was one of many films which were set in detroit but not filmed in the city. what films were actually filmed in the city? blair There was this made-for-cable movie with Bonnie Bedelia (Bruce Willis' wife in the Die Hard flicks) about five years ago that was actually filmed on location here. The old Hudson's building (RIP) and Old County Building were used (Bedelia's character was a judge). Parts of Out of Sight (Clooney and Lopez) were filmed here, not just exteriors. Exteriors and establishing shots for the now-defunct CBS TV series EZ Streets (Ken Olin) were filmed here. The opening sequence of Beverly Hills Cop was shot here, the bit that ran under the credits. None of the actual narrative, though. Polish Wedding (Liam Neeson and Claire Danes) was actually filmed in Hamtramck. I didn't see Grosse Pointe Blank but I heard most of it was filmed here. Ice Cube's character in Three Kings was a Detroiter. Weren't parts of True Romance (Christian Slater, Dennis Hopper) actually filmed on location here ? I doubt it. I know the story takes place here though. I'd bet that the insurance companies that cover film shoots are scared shitless to come here and do films. Even cats like Sam Raimi (A Simple Plan) who's from here, never come back to shoot films. Also, they tear shit down like nothing in this city. The Temptations TV biopic was actually shot in Pittsburgh because 1960s Detroit doesn't exist anymore, either demolished or bombed-out ghetto or a freeway. There was a big fuss in the local press over it. They actually rebuilt Hitsville USA in Pittsburgh ! It was pretty accurate though, down to the funeral home next door. In contrast, the old Crime Story TV series, set in 1963 Chicago, was filmed on location there, and still looked like the 60s. My friend was in from LA shooting a low-budget movie here back in 1998, but they ran out of money. a. watches too many movies.
Re: (313) Techno Rebels
In a message dated 4/12/00 6:32:33 AM, [EMAIL PROTECTED] writes: It's interesting that UK dance mags seem to have now all gone into Ghetto Bass... Not just UK. Spin, Details and Rolling Stone US all got on the bandwagon last year. Thank God the hype is over now. I think that white, middle-class prurient interest in stereotypical Black salaciousness is part of what fuels ghettotech (as well as driving mainstream rap and rb sales into the millions), along with the sense it makes: Detroit is a ghetto city right ? So here we have ghetto music. Now THAT'S a journalistic hook. What could be simpler than Ass Titties ? None of the contradictory preppy Black world-travelled educated romantic electronic futurism (and in UR's case, cultural terrorism) of Detroit Techno. Intelligent brothers ? Perish the thought. Sicko was telling me during the course of his writing Techno Rebels that his editor couldn't believe that all these preppy, college-bound, Italo disco-listening, standard-English speaking Black kids from well-off families were in Detroit in the 80s. Fuck Charivari: where were the guns and drugs ? Say Nice Things About Detroit. a. www.puresonikrecords.net
Fwd: Mixer US reviews in advance
---BeginMessage--- Shawn Rudiman Evidence of Life EP 7th City US A deep four-tracker from Dan DBX Bell's label. The Pittsburgh-based Rudiman shows his jazzy, tribal side here (a much better, more focused and overall better-produced effort than his previous Blue Empire EP on his own Hypervinyl imprint), with John Tejada-esque moments of chords and depth. A more uptempo release from the usually-more experimental 7th City, this one brings soul and maturity to your basic, banging techno set. Or maybe I'm just getting old. Recommended. ***1/2 --Alan Oldham Jochem Paap Electric Deluxe Plus 8 CAN white label This one was handed to me by Richie Hawtin right-hand man Clark Warner during my recent post-Miami set at Detroit's Motor club. Since the Rotterdam-based Paap's current noise/industrial/electro output as Speedy J on NovaMute is incomprehensible to me, I fully expected this to be more of the same, and was prepared to dismiss it. WRONG ! Electric Deluxe is slow-building, flat-out banging, peak-time 4/4 techno and guaranteed to rock your floor. Three tracks here (untitled on this white label), all stompin'. A solid dancefloor hit for the newly-resurgent Plus 8 and one more sign (along with Hawtin's Orange 12 and DE9 mix CD on M_nus) that sub-minimal, Basic Channel-ish techno, at least in the Hawtin camp, has run its course. A cryptic note in the run-out groove completes the packagebut alluding to what ? --Alan Oldham Bryan Zentz Skufftones 1.0 In-Tec UK white label No, it isn't a ska record. After Zentz's brilliant hard techno manifesto Kingdom of the Selfish on Primate and his deeper Loving Them Is Dangerous. Hating Them Is Futile EP on Jericho, the prolific track machine returns on Carl Cox's London-based imprint. Good stuff as usual, but I'm not feeling the lead track, Algebra. It works that Giorgio Moroder I Feel Love bassline one too many times. Too many people in both the house and techno worlds have all bitten that groove. Doesn't Felix Da Housecat have a track like that on his album ? Enough already. But the next track, Matador, returns Zentz to familiar funky house/techno crossover territory. Metric is the one I'd most likely play out: cool, tribal and very Purpose Maker circa Steampit EP. Bravador continues in that vein with clean production, nice Latin horn stabs and deft sample work. Three out of four this time for Zentz, but still better than most people's averages. *** --Alan Oldham Mike Dearborn vs. The Advent Battle Remixes Majesty US Well, you know, it's Mike Dearborn and The Advent. You know what it sounds like. What can I say that you don't already know other than it's taken from Dearborn's Ready For War album from last year ? ***1/2 --Alan Oldham Cristian Varela Generator Feelings EP Primate UK white label Four tracks' worth of driving, pumping, but ultimately-average post-Mills dancefloor techno from Madrid, but Goddamn, too much midrange in the final mix ! Maybe okay for younger ears, but too much for these road-damaged cauliflowers. Hey Nilz (of UK mastering lab The Exchange), quit leaning on the EQ so hard, we get the message. **1/2 --Alan Oldham G-Flame and Mr. G Give 'N' Take EP Moods and Grooves US white label More funky, compressed house madness as Colin McBean meets Detroit for his latest G-Flame side on Mike Grant's up-and-coming MG imprint. Swing Crewz II is your basic, late night G-Flame groove that we know so well; straddling that fine line between house and techno. G's D. Sound Dub and Pulsez are more of the same. A refreshing, uptempo change from the current trend of pitched-down, water torture beats (KDJ, Theo, Alton Miller, etc.) in Detroit house music. If it got any slower, it'd be hip-hop. --Alan Oldham Terrence Dixon From The Far Future 2x12 Tresor GER white label Frankly, this album is better than I thought it would be, going by Dixon's past solo work (Dixon's co-production on Juan Atkins' 1998 Skynet album, for various reasons, went uncredited, which led to this project on Tresor). Very deep, repetitive and melodic, the tracks on From The Far Future are simple at first listen, but tracks like Running Time and Untitled (my favorite) are compelling enough to take you deeper, and with more swing, warmth and sense of melody than the usual stark, minimal German techno. Track titles like Early Space Pioneers evoke the paintings of Black art savant Jean-Michel Basquiat while sharing the painter's willful primitivism. More suited for home listening than the dancefloor, this is more the art gallery background music of the present than the sounds of the far future. Get the CD version and press repeat. --Alan Oldham www.puresonikrecords.net
Re: (313) last angel of history - derrick may?
In a message dated 4/11/00 12:55:34 AM, [EMAIL PROTECTED] writes: notice how kodwo eshun and derrick may are in it? anyone seen this movie? I stumbled across a copy of More Brilliant Than the Sun and found it to be unreadable; I've never read such crap in my life. All these made-up submicrocategories (and smashed-together words) for music. The worst cliches of Brit music journalism all collided together in one volume. Eshun makes Neil Ollivierra (back when he was a writer) look like the soul of brevity. Time to read Techno Rebels for the 20th time. Some folks took Dan (congratulations !) to task for its relatively short length, but at least you didn't come away feeling like you just slogged through a field of mud with heavy boots on. Maybe it's because I know the cats personally, but Goddamn, it's not like Drexciya is actually saying anything even if they do have lyrics. Can we navel-gaze some more please ? In the words of Chris Rock, whatever happened to crazy ? a. www.puresonikrecords.net
Re: (313) 808 usage in mainstream music
In a message dated 4/7/00 4:33:41 PM, [EMAIL PROTECTED] writes: i know that the 808 was used a lot in mainstream music in the 80's and whatnot. does anyone know how widely used it is today in hiphop/rnb/etc? One word: Timbaland. a. www.puresonikrecords.net
Re: (313) a spastic, plastic dream...
In a message dated 4/5/00 10:06:05 PM, [EMAIL PROTECTED] writes: 1. an E-Dancer 'Heavenly' on Planet E sticker ... my eyes are _still_spinning from trying to see this movie this afternoon... all the while spottin' records, adverts and the myriad of stickers decorating the walls of Championship Vinyl - the best record shoppee on film since... um, since... well, hell- since Pretty In Pink! There was a pretty cool vinyl record shop in The Talented Mr. Ripley. It was a jazz shop in Rome stacked to the brim with vintage Blue Note wax. The producers obviously had a product placement deal with the label. But all that wax and old Dexter Gordon and Miles posters on the walls...and need I mention Jude Law's wardrobe ? Incredibly cool flick. a. www.puresonikrecords.net
Re: (313) Fwd: How To Rock a Show 101
In a message dated 4/3/00 1:29:52 PM, [EMAIL PROTECTED] writes: Carl Cox came into Detroit and rocked shit, 'nuff said I thought Detroit DJs didn't like Carl Cox... What gives you that impression ? a.
Fwd: How To Rock a Show 101
---BeginMessage--- There is no doubt, the cat brought the noise the way it should be brought. One Brit that lives up to the hype. Driving, banging, European techno evil on three decks. The shit was enough to make you wanna slap your mama. The crowd was off the hook. I damn near lost my mind. How can ANYBODY not like techno ? Carl Cox came into Detroit and rocked shit, 'nuff said. The kung-fu/hip-hop movie Romeo Must Die rocked, too. A great night for entertainment. a. www.puresonikrecords.net ---End Message---
Re: (313) soulless?
In a message dated 3/22/00 11:58:52 AM, [EMAIL PROTECTED] writes: If house is the dance music that celebrates humans, techno is the genre that praises machines -- banging, soulless or relentless are words that techno DJs might be proud to have associated with their sets. -nytimes h Given the source...a mainstream NYC newspaper...I'm not a bit surprised. Hard Techno in NY is more of a rave thing, not a club thing anyway. Alan Oldham Banging, Relentless (but never Soulless) Techno DJ www.puresonikrecords.net
Re: RE: (313) Killabite/User Series/Regis
In a message dated 3/22/00 11:09:10 AM, [EMAIL PROTECTED] writes: Hey Alan, maybe you know this; Karl did a rework on one of your releases didn't he? I believe it was a 10 inch, but I can't remember the title. If I'm not mistaken there was a remix by the Advent as well on that one. Just to play that 10inch a lot. John, Glad you liked it. It was a normal 12 with Regis and The Advent remixing an older tune of mine, plus this cat from Zurich named Miklos Kovari, who did a mix of an even older track. In retrospect, the mixes really didn't have much to do with the original. I don't even remember the series number; I'm on my 2nd cup of coffee for the day. a. www.puresonikrecords.net
Re: (313) Dave Clarke in Lansing
In a message dated 3/20/00 5:32:45 PM, [EMAIL PROTECTED] writes: I personally think that while he's the best electro dj I've ever heard, the part of his sets where he spins techno tend to bore me. A little too bangin. No such thing as too bangin'. Unless it's gabber. ;-) a.
Re: (313) Ben Sims kicks ass???
In a message dated 3/16/00 8:41:11 PM, [EMAIL PROTECTED] writes: damn 2 mailing lists now with threads about name spelling..well this isn't as bad as the other...derek may from canada and derrick may from detroit heh go figure How about Ritchie Hawtin ? a.
Re: T-1000 in indiana [was Re: (313) Mix Cd's Dj T1000]
In a message dated 3/14/00 3:09:18 PM, [EMAIL PROTECTED] writes: Get your ass over here Alan!! :-) What can I tell you, Europe doesn't want me ! but bloomington, indiana certainly did! :) gotta say, alan tore it up for us this past weekend... special moments included - alan killing the sound and telling it like it is, fuck the bullshit!... - a complete 180 from a deep mull track into dearborn's voice of god (which turned into a techno sing along with a bunch of crazy techno nuts singing acapella: the voice...of god) - a comment to delta nine (who was following alan) to take his hardcore elsewhere - the octave one jaguar remix - and getting an oddly-timed and unexpected free peep show while chilling at the back of the venue (i won't forget the look on your face alan...) :) damn. thank god for good music. bom shankar! --varsha : varsha - psychedelic techno: : [EMAIL PROTECTED] : : PTLF : SUBterror : Scarab Records : : Nokturnal Netwerks : : http://beam.to/varsha : : AOL AIM: varshaPTLF: One last thing about the Bloomington/Indianapolis gig, I was very very gratified by the crowd's response. They *really* knew their music ! I'd say 80% of my set is white labels, but the hardcore trainspotters IDed the tunes no problem, while the rest of the room danced their asses off. I haven't had that much crowd response since God knows when. Everything was perfect, sound-wise, and they even had the new Pioneer DJM-600 mixer with filter effects added to the arsenal. Sweet ! With all the hype on the US rave scene going all commercial trance on us, my faith in the Midwest (where it all began) is renewed ! I'm even using exclamation points ! Just last week Mills was asking me the hot spots to play in the US; add Indy to the list. Thanks to everyone involved with Technophoria, and the kids who came out despite a big snowstorm. a. on now: Bowery Electric - Lushlife PS: John Digweed had a blurb in last week's Entertainment Weekly (due to the rave movie, Groove, that he has a cameo in), another reason to shoot myself.
Re: (313) Mix Cd's Dj T1000
In a message dated 3/14/00 10:14:46 AM, [EMAIL PROTECTED] writes: One of my friends buys cd's (I stick to vinyl) and he had a copy of the Live Sabotage, live in Belgium. Very decent mix-cd, very decent! It's really a shame that was about the only time Alan played in Belgium. Get your ass over here Alan!! :-) What can I tell you, Europe doesn't want me ! =) a.
Re: T-1000 in indiana [was Re: (313) Mix Cd's Dj T1000]
In a message dated 3/14/00 3:09:18 PM, [EMAIL PROTECTED] writes: - a comment to delta nine (who was following alan) to take his hardcore elsewhere Why do people always wanna start controversy...it was a joke, Dave and I are good friends. He left that part out. a.
Re: (313) Ben Sims kicks ass???
Before I get going, I'd like to ask for any recommendations on the best tribal techno records/producers out there right now, things that are deep, dark, and danceable... Oliver Ho, Christian Smith, G-Flame, Joel Mull (his b-sides), Marco Carola, Chris McCormack, The new Hardgroove double-pack, etc. I like the supercompressed European house/techno thing that's happening right now. Detroit is completely finished making good techno aside from Jaguar. I don't think that the Rave Scene is necessarily a great place for techno, although at the same time I do hope that techno DJs continue to infiltrate the rave scene and bring their own sounds to those who will listen--which is exactly why I play parties. The rave scene is what's keeping techno alive in the US, strangely enough. I hardly ever get booked at clubs. All the clubs want to hear is commercial Oakenfold bullshit or Eiffel 65 eurotrash pop (aside from Motor and Science of course *wink*). The funny thing about these candy kids is that they *say* they don't like techno until you light their asses up and rock some shit, then they're all over you...what kind of music is that ??? Then you leave the room and they're right back on that happy hardcore cartoon shit...weird. Just my 02. a.
(313) Reply
In a message dated 3/9/00 2:12:04 PM, Minimaltek writes: Alan, your opinions are your opinions if you just want to throw stuff on the list and insult people for asking you to go further with your ideas and clarify, be my guest---but interaction and conversation seems like a better platform. Unless you can't back your statements up... First of all, I tried to take this private but you dragged me onto the list. Unlike you, I understand points when people make them. Yes there are great releases from Detroit labels, unfortunately most of the artists with the hits themselves aren't from Detroit and the Detroit artists are not making dancefloor techno. Wild Planet and Aril are from Stockholm (this year's techno capital), Rich is Canadian (who just at the end of 1999 went back to dancefloor material), Shake made one bad-ass hard techno record like two years ago (the NSC one that I did the artwork for), Planet E doesn't make techno anymore, the Detroit Grand Pubahs are on the cover of the Metro Times this week and Aux 88 won *two* Metro Times Music Awards last year. Not to mention last year's big hype on ghettotech in Mixer, Details, Rolling Stone, etc. IT's From Beyond was one of the 90s' best discs according to Spin. So was Innovator, but I don't have to point out that those tracks are all 10+ years old. I haven't heard the new DBX stuff on Elevate, but he seems to be moving in a more abstract direction as well. According to Submerge, they are having big success with these instrumental hip-hop EPs plus their prior success w/ hi-tech funk and booty. Jaguar was out of the blue. Need I go on ? Detroit Techno as it was is over. Times change. No sour grapes, just facts. It's no accident that hard techno guys like Denham and Young have moved to Europe and Mills keeps a crib there. Stewart Walker tells me he's spending most of this summer there because he can barely get booked in the US. New talent like Punisher switch between techno and db. But life goes on. Techno was voted best musical form of 1999 by a Raveline (GER) reader's poll, beating out all other styles of dance music. And that as they say is that. a. PS. I did enjoy RNG's Existence of Echelon on 430 West last year.
Re: (313) I Am AfroGermanic!!!
In a message dated 3/8/00 3:08:20 AM, [EMAIL PROTECTED] writes: Does anyone have any info on Chaos, aka Marc Floyd?? I know he did a really awesome track called AfroGermanic. I have one of his releases on Metroplex but I haven't seen anything else around. -1nFØrm3r He's got a new one on white label: UR043 Condition Red EP. I'm not really into the electro side of things, but Floyd takes it into Aphex Twin Come To Daddy territory. Weird, dark, abrasive, high-speed type shit. He's got a ton of tracks completed, but who knows where they'll all end up (including one he did w/ DJ Rolando). I think he's got a piece out on Metroplex under the name Mark Flash as well. a.
Re: (313) Ben Sims kicks ass???
In a message dated 3/8/00 8:16:23 AM, [EMAIL PROTECTED] writes: Clearly his hiphop past is reflected in his mixing. I saw him do stuff I've never seen a dj do before. You've obviously never heard of/seen Terrence Parker or Jeff Mills then! Or Dave Clarke or Claude Young. a. (who doesn't have a hip-hop past)
Re: (313) Ben Sims kicks ass???
In a message dated 3/8/00 10:35:19 AM, [EMAIL PROTECTED] writes: Or Dave Clarke or Claude Young. a. (who doesn't have a hip-hop past) But can work out the doubles like a motherfcker!! Awww, shucks, anybody can do that. It's so easy I don't even do it anymore. =) a. (www.puresonikrecords.net)
Re: (313) 2 track EP's SUCK!
In a message dated 3/5/00 7:46:46 PM, [EMAIL PROTECTED] writes: Good point, but what would You say about records that have only 1 track (btw really a SINGLE by all means ;) on side A , BUT side B has nothing on??? I remember myself thinking of this issue when I was considering of buying a single track record by T-1000's on Pure Sonic , but was low on cash (I live in country where most of underground and even some commercial dj fee is equal to cost of 3-8 records). Unfortunately I can't tell You excatly the name of a record because I didn't buy it, although this SINGLE track was pretty hot. Visu labo ix Marketing was mentioned before as a factor in determining the configuration/number of tracks on a record. In the case of Track Machine, marketing was part of that decision. Well, that and the fact the other tracks that were supposed to have gone with it weren't as good so I left them off. Now it's out of print. Don't you wish you bought it ? =) a.
Re: (313) 2 track EP's SUCK!
In a message dated 3/6/00 9:22:25 AM, [EMAIL PROTECTED] writes: I also hate it when somebody puts out a 2x12 and refers to it as an EP. Wrong ! It's a double-pack ! (the only difference between a double-pack and an album is a full album cover). So what's your point? Read the above again. Slow. a.
Re: (313) 2 track EP's SUCK!
In a message dated 3/5/00 3:23:30 PM, [EMAIL PROTECTED] writes: however, I get the feeling that when an artist releases an EP with only two tracks on it that a) they don't have any other material or b)they're trying to cash in! or both! Am I right? First of all, I'm annoyed when records with only 2 tracks are referred to by anyone as EPs. Wrong ! They're 12s ! Three or more tracks per disc constitute an EP. I also hate it when somebody puts out a 2x12 and refers to it as an EP. Wrong ! It's a double-pack ! (the only difference between a double-pack and an album is a full album cover). Nomenclature aside, I'd rather buy a 12 w/ 2 loud, fat-ass tracks than a 4-song EP where only one or two of the tracks are any good. We've all been there (and I've probably put a few out). a. PS. Assuming anyone on the list actually listens to techno anymore, the new Sender Berlin remix EP on Tresor is a motherfucker.
(313) Calling Mr. Deason.
Sean, Call me at home when you get this, please. Thanks, a.
Re: (313) CONVEXION
In a message dated 3/1/00 8:23:24 PM, [EMAIL PROTECTED] writes: Hey Izzy, Stewart Walker if I am not mistaken. This was one of his early records, really good stuff! Take care, Mike Taylor Nope, Convextion is Texas' own Gerard Hanson. Marina and I met him in Dallas over a year ago. He sent me a white label copy of what was to become his own label, Vext, but I haven't heard anything since. Stewart, too, contributed to an all-too-brief string of hits for Matrix. a.
Re: (313) Detroit Hip-Hop
In a message dated 3/2/00 12:35:52 PM, [EMAIL PROTECTED] writes: Oh wait, that's right, Eninem snatched two Grammys. Never mind. :P -d Hell yeah, and it was Black History Month when he did it ! Something to think about... a.
Re: (313) CONVEXTION
In a message dated 3/2/00 2:10:43 PM, [EMAIL PROTECTED] writes: That white label you mention of Alan was very limited. Only like 30 or so pressed up... Can you get that few pressed ? Oh, and we met Minto in Dallas as well ! What a disaster gig that was ! a.
Re: (313) Hot new Dan Bell mix cd forthcoming...
What, no Losing Control ? Guess that would have been the obvious move. But it's DBX's biggest track ! a.
Re: (313) FW: booty ghetto whadever
In a message dated 2/17/00 12:01:12 AM, [EMAIL PROTECTED] writes: There just doesn't seem to be a market for electro in London like I hear there is in Manchester or other places. you mean that article I read in _The Face_ a year or so ago, the Detroit Ghetto Tech expose, didn't take off on your little island? ;) The only thing they like in London is cheese trance, that is, if you believe what you read in Muzik. a. NP: Ol' Dirty Bastard Brooklyn Zoo
(313) Feb/Mar Mixer reviews (in advance)
TECHNO SINGLE OF THE MONTH DJ Rolando (The Aztec Mystic) Revenge of the Jaguar Underground Resistance 2000 DJ Rolando's original Flight of the Jaguar was the Detroit phenomenon of 1999 (and--wow--it wasn't ghettotech or electro). Caned incessantly by DJs as disparate as Sven Vath and Roger Sanchez, the record went on to sell over 20, 000 domestic copies worldwide and crossed over into all genres. Sony Music Germany touched off a firestorm by illegally releasing its own soulless, bootlegged trance version of the hit and overnight the militantly underground UR camp was embroiled in a controversy of David and Goliath proportions. Now, in the midst of an e-mail bombing/hacking campaign against corporate Sony by irate techno fans on behalf of their underground heroes, UR strikes back with the remixes. UR co-founder and international techno legend Jeff Mills returns to the fold eight years after leaving the group with a percussive, string-laden workout far out of character with his usual lock-grooved Purpose Maker madness. Octave One checks in with my favorite mix; a reduced, minimal take on the original whose strings come in triumphantly towards the end. And finally, leader Mad Mike brings up the rear with a beatless, spiritual epilogue. The CD version compiles all of DJ Rolando's UR output to date in addition to the new mixes. Round two decision: UR. * --Alan Oldham Deetron Alien Entertainment EP In-Tec/UK A by-the-numbers release and the first misstep from Carl Cox's techno imprint. There's only one hot one here to me, Alien Data, a track that combines techno percussion with house overtones (itself nothing new; see G Flame). The other tracks are bland and predictable. Now watch, I'm going to end up playing out somewhere with this guy who would have read my review, and I'll be forced to explain myself in person. I gave Cristian Vogel a bad review here in Mixer and almost ended up running into him in Berlin. I actually did meet his SuperCollider partner, Jamie Lidell. Luckily I left town right before Cristian got in. Whew, that was a close one. * --Alan Oldham Soulwatcher Battery EP Primevil/UK Another clunker, this time from the usually-dependable Primevil. Soulwatcher is Marco Bailey and Redhead, responsible previously for that bangin' 10 on Primate, Black Windows. There's no excitement to this one, however. Club E (corny name) is long and rigidly programmed, simple and very Euro. Page Up has this annoying piano line that runs through it, with no swing to the drum parts at all. Only Battery is any good; swinging, funky, hard as nails, and even it sounds like it picks up note-for-note right where the Adam Beyer remix of Morgan's Flowerchild on Synewave leaves off. * --Alan Oldham Chris McCormack The Maximalist Materials/UK Four tracks of proper, bangin' techno from an artist I've never heard of. The label is new as well. The Maximalist is grinding, dark and lowdown, falling somewhere between The Advent and Regis. Bad-ass shit, but the track just stops dead at the end, like somebody pulled the plug on his mixer or something. If you're a decent DJ though, you're not gonna play it through, so what do you care. I heard Oakenfold lets his records play all the way through, doesn't even mix, and his mix CDs are all done on ProTools. Is this true ? E-mail me. Anyway, Day to Day sounds like a cross between me ripping off Mills (Codes and Structures Volume One) and McCormack ripping off the Advent, if that makes any sense. Sunset to Sunrise is very funky, very samba. I wish I had another copy of it to work with (God forbid that my local record store order more than one of any techno record). Darkness Prevailing in the Night is the long, dark closer to this great EP, which proves that all you have to do to make a good techno record is sound like Mills, Regis and The Advent all at once. --Alan Oldham Sender Berlin Spektrum Weltweit Remixes Tresor/GER Taken from last year's full-length Spektrum Weltweit, my friends and tourmates Sender Berlin return with this very interesting three-tracker. Tokyo's DJ Shufflemaster reworks Zeitsignal into a hard techno frenzy; loud as hell and filtered through the roof. An epic conclusion to that set of bangin' techno that you've been practicing in your room all these months. Go get this one, then you'll be ready to rock. Actually, I'm joking because I know you're all out buying trance records. Double X (also from Berlin) remixes the title track into something way more interesting than the original, this one funky, minimal and melodic. Nana 07 becomes a very adventurous imaginary soundtrack piece in the hands of Direction Indicator. I really like this one; cool and evocative. Part two of this remix series will appear on Sender's own label, unGleich. --Alan Oldham
Re: (313) The instant globalisation of music?
In a message dated 2/10/00 7:05:04 PM, [EMAIL PROTECTED] writes: With any top radio format I just think there's more hoops to jump through and also less of a language barrie with techno than hip-hop where alot of the phrases and slangs might not translate. You'd be surprised. The biggest mainstream music worldwide (no matter what the music business would have you believe) is Rap/RB (note I don't say hip-hop). Whenever you have Japanese kids whose only English they know is the lyrics of a Method Man record (see the movie The Show) and Japanese girls who fry their hair and go to tanning booths to look like Brandy, I'd say the language is universal. There are kids from Australia who talk more black than I do because of the records. Back to techno music. Having put out my own records since '92, I'd say its globalization has grown right along with faster overnight shipping companies like FedEx and DHL, the Internet and Watts Music being the only distributor of any real consequence (not to dis Nemesis, Hardwax, et al). Having a hot-ass track doesn't hurt either. a.
Re: (313) re : plus 8 vs ur
In a message dated 2/9/00 7:33:49 PM, [EMAIL PROTECTED] writes: what about mark kinchen? Hahahaha, oh my God. I haven't laughed this hard all day... Mark and his brother Scott are Black. a.
Re: (313) The instant globalisation of music?
In a message dated 2/10/00 3:52:40 PM, [EMAIL PROTECTED] writes: Anyway, about Hot97: I was in NYC from July-September last year and listened to it quite a bit. One thing that struck me in the last one/two months or so, is the number of hiphop and rb tunes that are new in the charts or on the radio here in the Netherlands (and I presume in most of Europe) that were in heavy rotation on Hot97 three to six *months* earlier. Some examples, some slighty more recent than others: Donell Jones - U know what's up (v. good rb tune, btw) Montell Jordan - Get it on tonite (ditto) ODB - Baby I got your money 702 - You don't know (313 relevance courtesy of TP: Mark Kinchen produced this) Kelis - Caught out there aka 'I hate you so much right now' This several-month-lag between the US and Europe surprises me. Otto, With some of the music you just mentioned, it's critical that commercial rb/rap like that get sales momentum in the States before a European release is justified. This explains the time lag. When I was in Rotterdam watching MTV and that new Dutch music channel, it was like I never left the States. Destiny's Child, Foxy Brown and Jay-Z with the occasional Eurotrashdisco track (Alice Deejay's I Want You Back In My Life became the unofficial theme song of the whole trip) to remind me I wasn't still in Detroit, music-wise. VIVA and VIVA Zwei (GER) are my favorite European music channels. Also consider that the acts you just named would probably be considered second or third-tier at best. Puff Daddy's album was available worldwide on the same day or within the same week (for all the good it did him). Will Smith's Willennium also. Kelis is gorgeous, isn't she ? She can hate me all she wants. a.
Re: (313) freddy fresh
In a message dated 2/8/00 5:15:49 PM, [EMAIL PROTECTED] writes: does anyone know where i could find the freddy fresh mix cd? my usual sources seem to be dry. also, while i probably won't change my mind, would someone care to post a review? i was curious if it was more his hiphop leaning stuff or on the techno side or both. ben. I haven't heard his mix CD, but I hear he's gone all Fatboy Slim/cheesy breaks/Big Beat on us. a.
Re: (313) San Fran 2-12-00
In a message dated 2/4/00 4:19:04 PM, [EMAIL PROTECTED] writes: Saturday February 12, 2000 Urban Development is havin a lil Valentines day show with real live actual D flavored Techno as opposed to the constant suck-ass bombardment of cracker house and trance you typically get Thank God. It being SF you'll be lucky to get 150 people for techno. But oh, that 150 ! Kikoman (deep fried, Missle, from all sorts of places in Michigan) Whatever happened to Kiko ? A hot string of 12s on Deepfried, then nothing. Switching to an all-trance format, Alan
(313) TP
I was taken to church *and* to school on the same night by the incredible Detroit house legend Mr. Terrence Parker at Motor on Saturday. Rock that shit, homie. a.
Re: (313) mike grant
There is a feature article on Grant in the latest issue of XLR8R (US). Heather Heart is on the cover. a.
(313) epic techno
Mobility (Aquamix) by Moby, the b-side of Go, (1990, Instinct Records). Brings tears to my eyes 10 years later. I've been playing it all day. Fuck Play, go out and buy Early Underground on Instinct (CD still in print). He was the shit back then. Anybody got a copy of Instinct Dance (all Moby tracks under Voodoo Child, Barracuda and UHF) they wanna sell me ? Why hasn't anyone mentioned The Beginning by Rhythim is Rhythim, (also 1990, Kool Kat Records). It takes the kick 3 1/2 minutes to kick in and when it does, the whole house lights up. On a huge system, it's like a symphony. Ahead of its time. Still playable at +6. 808 State Pacific State is epic techno. Makes you want to cry and dance at the same time. Derrick played it as the last record on the last night of the Music Institute. I just played with 808 in Spain, top blokes but the gig was a disaster. The 1st segment of Live at the Liquid Room. Bangin', loud and fucked-up. Crowd goes nuts in the background. Beats and hi-hats all on top of each other. Reserved and quiet in real life, this is Mills' real self on display via the music. So many techno DJs try to bite Mills' style on this record, same tracks and everything. I heard DRC play LFO on New Year's (Los Angeles) to 10,000 people on a system the size of Rhode Island. The bass kicked in and it was like Marty McFly's atomic guitar in Back To The Future. Surgeon is playing it too. Epic and timeless. If anyone mentions a trance record on 313 as epic, I'm gonna hit the computer like Popeye and a big electric fist will come thru the Net and come out on your end and knock some sense into you. =) This is a one-time-only transmission. Back to radio silence. a.
