Re: (313) Big sigh.
but you are probably less perfect than Juan. Sorry. i think you meant less talented? it sounds like you are confusing him with moses or whoeverhe is not an especially talented dj...everybody knows that...and juan isn't either.. jb was rightthe mix is garbage...tepid generic clubbiness with an underwhelming sprinkle of detroit flavor here and there...not great techno...but personally i set the bar is pretty low for Juan and this isn't as awful as he can be, or kevin saunderson-level shitty...it's listenable... but there are plenty of superior dj's on the 313-list and all over the place...every couple years you hear juan is dj'ing cool stuff but this looks/sounds like a promo mix for euro-club giggin......nobody is judging juan for his dj'ing or wack taste, it's nothing new, he's a still a crazy genius for his own productions..remember this tho http://www.discogs.com/Juan-Atkins-Wax-Trax-MasterMix-Volume-1/release/3001 so it's fair to hope he'd play some higher quality stuff...like real elitist techno...thats what i want.. jt
Re: (313) Drexciya re-issue/compilation available now.
Great point about the mastering perhaps giving a more consistent quality, Emile... I hadn't been so interested in actually listening to the comp, since I know it all already, until you guys reminded me about the remastering...It'll be interesting to hear how esp. certain tracks might sound better/different -- Wavejumper The Countdown Has Begun come to mind off the top of my head, the 909 in the originals is so punchy and I think that record is kinda crusty, in a good way and in a bad way... I think some stuff could really benefit in some ways but maybe others might lose some specialness, even if they sound technically better, I'm pretty curious now...Especially I think where Ron Murphy was involved, it'll be interesting to hear the difference because it's bound to be pretty different...Everything he mastered (like Wavejumper/UR-030) had his touch, a bit of wildness that fit the music so well..On the other hand, it wasn't always a 100% success...;) jt On Wed, Dec 7, 2011 at 5:29 AM, Emile Facey em...@bleep43.com wrote: As Marsel says, it'll depend on what Alden Tyrell has done in his mastering process, and if it's to your taste. Mastering techniques have definitely come a long way since some of this stuff was released originally but not everyone will agree that they've got better. He's normally a really good engineer though and the clips sound great to me. One thing that might be interesting is that remastering everything in one session from the original tapes might give the tracks a more consistent sound. I don't know for sure but I'd imagine that because a lot of them were released on different labels, most of these 12s were mastered by different engineers at different cutting sessions and that as a result all the records sound a bit different, well at least to my ears, they do. 07 UNKNOWN JOURNEY is definitely something I've never heard before or seen on any original releases. On 7 Dec 2011, at 09:48, Marsel van der Wielen wrote: well, mastering is meant to have it sound better :-) but it's always personal judgement if it does of course and can depend on which system the music is played after (home headphones vs 100k stadium) Op 7-12-2011 10:45, Placid schreef: all re-mastered - A quick question. Does remastering actually man its going to sound better. What if the technique they use isn't as good as it originally was Going back to a post a few months back on how the trax stuff had been remastered to sound great on big sound systems but lacked mids and hi end clarity here - http://www.offmodern.com/2011/06/revisionist-house/ just thinking...
Re: (313) the best Black Nation Records?()*^*()
Agree on the Psychic Warfare Daniel (although I didn't like the the 2nd one a few releases later), forgot to mention it! I remember liking Coup D'etat OK on that Vice but I think the rest was churning banging 2bar stuff, that's the last BNR I bought/own.. JT On Mon, Sep 19, 2011 at 6:28 AM, Daniel Troberg erasemu...@gmail.com wrote: this too: http://www.discogs.com/Vice-Asylum-Seekers/release/17421 crappy pressing though On Sep 16, 2011, at 8:29 AM, Samuel Karmel wrote: Ok i kinda skipped on this label except for a couple...whats the cream of the crop? pretty please Sam *** .mac: erasemusic msn: erasemu...@msn.com aim: erasemusic yahoo: erasemu...@yahoo.com googletalk: erasemusic icq: 344917989 skype: erasemusic www.danieltroberg.com www.youtube.com/user/erasemusic www.facebook.com/erasemusic www.soundcloud.com/erase ***
Re: (313) the best Black Nation Records?()*^*()
I am a huge Black Nation fan...still play early stuff all the time. These are my faves. http://www.discogs.com/Chancellor-Meets-Vice-Global-Infunkuation/master/43700 (dated, but still a great DX100 workout) http://www.discogs.com/Blackman-A-Day-Of-Atonement/release/35053 http://www.discogs.com/D-Knox-Meditation-EP/release/33583 http://www.discogs.com/Jay-Denham-Anomie/release/35057 http://www.discogs.com/Chance-McDermott-Blackball-EP/master/331787 http://www.discogs.com/Vice-Playerhater-EP-Volume-II/master/43713 http://www.discogs.com/Bios-Minimal-Funkateers/master/43690 (for sixty-neuf) I stopped listening when the releases seemed to get more monotonous banging. I'd love to hear if there are other releases I should check out. Aside from Jay Denham's deeper/more interesting stuff on BNR, Chance McDermott's stuff was great JT On Fri, Sep 16, 2011 at 4:23 AM, Jason Kenjar jasonk1...@gmail.com wrote: i like playahater 2 and some of the other earlier releases. On Sep 16, 2011, at 2:11 AM, Richard Hester wrote: Thanks for bringing up his name - a real nice guy who did some kick-a** tracks for BN (and maybe Sonic Mind, too - I'd have to look). Jeff Davis wrote: And on a related note, does anyone know whatever happened to Aaron Bennett? thanks, Jeffrey J Davis www.jeffreyjdavis.com 218.83DAVIS j...@jeffreyjdavis.com jeffreyjamesdavis On Fri, Sep 16, 2011 at 2:29 AM, Samuel Karmelsamuel.kar...@gmail.com wrote: Ok i kinda skipped on this label except for a couple...whats the cream of the crop? pretty please Sam
Re: (313) holy crap virgo 4 re-releases
Speaking of megamix http://soundcloud.com/rushhourrecords/virgo-four-legowelt Really nice Legowelt megamix of the new Virgo 4 album(s) On 8 Feb 2011, at 23:16, fran...@thatamazingthing.com fran...@thatamazingthing.com wrote: No, all the stuff on the CD is on the vinyl, I think I think Kent means the vinyl doesn't get 30 tracks on by being a mega-mix!
Re: (313) speaking of the 303
Shut up Ken. Everything's civil as f*ck. On Tue, Aug 3, 2010 at 5:28 AM, Odeluga, Ken ken.odel...@dowjones.com wrote: How come the filter doesn't work sometimes? Anyway, whatever, I've nothing really against swearing. The only thing I'd suggest is that we try to keep things civil between us. Ken -Original Message- From: Jim Carlile [mailto:carlile...@gmail.com] Sent: Tuesday, August 03, 2010 12:31 AM To: 313@hyperreal.org Subject: Re: (313) speaking of the 303 Why? So there will be more shitty music with a 303 in it? Jim On Mon, Aug 2, 2010 at 5:25 PM, Andrew Duke Cognition Audioworks new email address andrewdukecognit...@gmail.com wrote: http://en.wikipedia.org/wiki/Beautiful_Monster Perhaps someone with the knowledge would update the wiki page so that readers would at least know what they are listening to? Andrew
Re: (313) Bileebob - Get A Phone! - UR
O sh*t.Love it On Fri, Jul 30, 2010 at 4:05 AM, Martin Dust mar...@dustscience.com wrote: Anyone know anything about this: http://www.youtube.com/watch?v=16nkgAXUiyw m
Re: (313) VIBES
I agree with the Doin' My Thing vote for his sampled stuff. I really, really love the Hoodlum 2x12 as far as Rob Hood house stuff goes though. On Thu, Mar 18, 2010 at 3:18 PM, robin ro...@fivetones.org wrote: Greatest Dancer? The Sister Sledge loop? Never real did feel that one. robin... On 18 Mar 2010, at 17:49, Jeffrey Richards wrote: Rob Hood and house, but surely the Floorplan stuff isn't the only disco he touched. Tiny Dancer was a burner of a disco track if you ask me. - Original Message From: robin ro...@fivetones.org To: 313 List 313@hyperreal.org Sent: Tue, March 16, 2010 2:28:40 PM Subject: (313) VIBES Oh man: http://www.rushhour.nl/store_detailed.php?item=53771 3 more 12s of this! Also just noticed this re-package: http://www.rushhour.nl/store_detailed.php?item=53747 For me all about Doin my Thing when Rob Hood was doing that house style tho. robin...
Re: (313) what's up with Ultradyne?
I don't know if Alex is on the list anymore so I'll chime in...Ultradyne is no more, Alex Dennis aren't making music together anymore. I think Alex said he hadn't been working on music for awhile but may again soon.. JT On Thu, Mar 18, 2010 at 5:23 PM, Ivan Tomasevic to...@tesla.rcub.bg.ac.rs wrote: i was just listening to some older vinyls i have and remembered how great Ultradyne's music is, so i was wonderring what's up with them guys these days? Lugo is on the list, right? will there be any new stuff soon? --
Re: (313) Partial DEMF lineup
I think it looks decent for sure. Larry Heard! I'm siked for Hudson Mohawke too, DMC champion at age 14 (and I dig his records). I agree that there isn't as much of C2 influence as I'd hoped, but maybe more musical acts will be forthcoming (not that there's is a total lack now)...not that C2 seems to be focusing on that sort of stuff much these days, Planet E has gone pretty kleub. I have no idea what Plastikman live will sound like, I'm open to it though. Sure thought it was godawful the last time he was a headliner, boom boom boom OK I'm going home. Hoping to go.. JT On Wed, Mar 10, 2010 at 11:32 AM, John Sokolowski jrsokolow...@hotmail.com wrote: Definitely glad to see a good representation of Detroit artists, Chicago house and the Chain Reaction/Rhythm Sound camp. Although, this seems to lack the Carl Craig imprint I was expecting. Not really complaining though! From: chaircrus...@gmail.com Date: Wed, 10 Mar 2010 09:01:51 -0600 Subject: Re: (313) Partial DEMF lineup To: jrsokolow...@hotmail.com CC: 313@hyperreal.org Heh -- let the hating begin ;-) It looks like I for one will find enough to keep me busy. Let me be the first to predict that there will be technical difficulties that delay the start of the Plastikman set. I'm hoping M500 live has happened enough times they won't trip up. On Wed, Mar 10, 2010 at 8:53 AM, John Sokolowski wrote: Movement 2010 Main Stage Headliners Richie Hawtin presents Plastikman – Live (Saturday) Inner City – Live (Sunday) Model 500 – Live (Monday) Movement 2010 Lineup (Partial Listing) Acid Didj Agoria Anthony Shake Shakir A-Trak Cassy Chris Liebing Claude VonStroke Dan Bain Derrick Carter Dj Dick Dj Godfather Dj Hype Dj Koze DJ Pierre DJ Sneak Francesco Tristano - Live Hudson Mohawke Ida Engberg ItaloBoyz Jamie Jones Jennifer Xerri Joel Mull Paco Osuna Phat Kat Guilty Simpson w/ Will Sessions – Live Pretty Lights - Live Punisher Radio Slave Recloose Rex Sepulveda Rick Wilhite Rob Hood - Live Rolando Ryan Crosson Scion - Live Secrets - Live Simian Mobile Disco Stacey Pullen StarskiClutch Theo Parish Woody Mcbride John Acquaviva John Johr Josh Wink Kenny Larkin - Live K-HAND Kid Sister - Live Kraak Smaak Kyle Hall Larry Heard Luke Hess - Live Magda Mark Ernestus (Rhythm Sound) Martin Buttrich - Live Martinez Bros Martyn Matthew Hawtin Michael Mayer Minx Mr. Scruff Onur Ozer _ Hotmail: Free, trusted and rich email service. http://clk.atdmt.com/GBL/go/201469228/direct/01/ _ Hotmail: Powerful Free email with security by Microsoft. http://clk.atdmt.com/GBL/go/201469230/direct/01/
Re: (313) New Kirk Degiorgio on Planet E
I do really like the new KD on RH...way more interesting to my ears, guess it's just more my speed.. http://www.rushhour.nl/store_detailed.php?item=53088 On Thu, Mar 4, 2010 at 8:10 AM, David Powers cybo...@gmail.com wrote: I liked the underlying rhythm track and especially the synth line that runs under everything, but didn't like the little distorted acid hit that hits on the offbeat every two beats through the entire song.Unfortunately, when a song is this stripped down, it only takes one bad sound to ruin it for me. Also wasn't the biggest fan of the synth pad wash. Though I could have lived with it had that other sound not been there, I'd have liked it more if it was a little darker sounding. ~David On Thu, Mar 4, 2010 at 3:50 AM, Martin Dust mar...@dustscience.com wrote: On 3 Mar 2010, at 19:29, JT Stewart wrote: It's not bad or anything, but for KirkI it's pretty forgettable. I mean compared to : http://www.youtube.com/watch?v=idBNjSYsjaQ which like Icon part 2 or his old rb stuff http://www.youtube.com/watch?v=U2k9RP7hpns I really like it, it will work out on the floor that's for sure. m
Re: (313) New Kirk Degiorgio on Planet E
It's not bad or anything, but for Kirk it's pretty forgettable. I mean compared to : http://www.youtube.com/watch?v=idBNjSYsjaQ which like Icon part 2 or his old rb stuff http://www.youtube.com/watch?v=U2k9RP7hpns On Wed, Mar 3, 2010 at 12:06 PM, kent williams chaircrus...@gmail.com wrote: I don't know how he does it but Kirk Degiorgio always comes up with tracks that I'm powerless to resist: http://planetary-folklore.blogspot.com/2010/03/kirk-degiorgio-membrane-planet-e.html You could say that it's a bog standard beat, it's tracky as hell, and that minor/major7 chord through delay has been done to death by everyone from shawn rudiman to aril brikha. Well, I just did. But somehow it's beside the point when Degiorgio gets up a head of steam. Listening this reminds me of watching Dan Bell play at DEMF, standing next to Shawn Rudiman. I told him you know, Techno really is a cheap trick. He laughed and said, yeah but it's a really f*cking good trick.
(313) This Friday (03/05) in Detroit: Derrick May + Convextion + Shawn Rudiman @ 10 Critics - $15
If you're in Detroit, go see 'em. DERRICK MAY + CONVEXTION (aka ERP) + SHAWN RUDIMAN w/10 Critics Residents Guys on Drugs (E.Spleece and Secrets) 21+/Cash Bar Doors open at 10pm $10 Limited Advance Ticket info will be available at www.10critics.com... $15 before Midnight/$20 after Midnight flyer: http://i863.photobucket.com/albums/ab192/MatrixRecords/DerrickMayBack.jpg I'm not involved, just spreading the word since it hasn't been mentioned here
Re: (313) New WPA record
I think you'll find that UPS and Fedex have their own problems when you've got more experience using them (for instance, they just don't deliver to some surprising places, and failed deliveries lead to bigger messes). USPS, UPS, and Fedex each have their strengths and weaknesses depending on destination. Like I said, USPS now has tracking even for 4 lb packages now, so the chances something will disappear is next to nil. All shipping services have to make their way through customs (after which they are out of USPS hands, and in many cases UPS and Fedex hand things over to local services as well) and there is nothing that makes a USPS package any more subject to long delays or return than the others, AFAIK. Speaking from 44 years of mail order experience (2 generations), sending $1000+ records across the world on a regular basis, so we really, really depend on reliable shipping. I've gotten a handful of personal emails asking what my store is -- I deal in rare 78rpm records, a microcosm, a business I inherited from my dad...I don't deal in electronic music or for that matter anything that goes slower than 78 rpm. JT On Fri, Feb 12, 2010 at 7:42 AM, Detroit Techno Militia detroittechnomili...@gmail.com wrote: I personally use USPS all the time (5-10 pieces per day) but Bridgette has her reasons. I've had several items get lost using their international service. 2 were returned to me. Not bad, but they were larger packages and I had to pay additional shipping to get the boxes back. 10 shirts cost me 40 to ship plus 40 to get back along with a 25 customs fee. Bad for business. At least when I ship UPS they make sure my packages make it to their destinationno extra fees. :) Sent from my iPhone On Feb 11, 2010, at 7:09 AM, JT Stewart etmach...@gmail.com wrote: No, it's not. I run a mail-order record business, we still use USPS. We send around a thousand int'l packages a year, to some slightly exotic places. A package goes missing maybe once every two years, and usually it's not entirely clear whether it's even the USPS' fault. International shipments over 4 pounds use a customs form that includes a code that can be tracked through the USPS website. It's been that way for a decade or so. Until last month, shipments under 4 pounds used a much simpler customs form that could not be tracked (at least, not through the website), but they've just gone to more complicated one that I believe can be. Tracking means accountability for any facility or post office where the package disappears. If you have the address right and the customs form right I'd say the chances of USPS losing something are way under 1%. If you have the address or customs form wrong, the package might take a long time to come back to you, but it will..the odds of loss are the same. My biggest beef with USPS right now is with domestic Media Mail shipments, which they have gotten a little over-zealous about opening and checking. Even when the box has fragile written all over it and is insured for hundreds of dollars. Apparently I'm supposed to trust that they will properly repackage everything...not good. JT On Thu, Feb 11, 2010 at 4:40 AM, Martin Dust mar...@dustscience.com wrote: On 11 Feb 2010, at 01:13, Detroit Techno Militia wrote: Too many issues shipping with USPS. If you want to take your chances, I'd be more than happy to pick one up for you and send it 1st class. :) Is the US postal service that bad? Everything we send seems to get through! m
Re: (313) New WPA record
No, it's not. I run a mail-order record business, we still use USPS. We send around a thousand int'l packages a year, to some slightly exotic places. A package goes missing maybe once every two years, and usually it's not entirely clear whether it's even the USPS' fault. International shipments over 4 pounds use a customs form that includes a code that can be tracked through the USPS website. It's been that way for a decade or so. Until last month, shipments under 4 pounds used a much simpler customs form that could not be tracked (at least, not through the website), but they've just gone to more complicated one that I believe can be. Tracking means accountability for any facility or post office where the package disappears. If you have the address right and the customs form right I'd say the chances of USPS losing something are way under 1%. If you have the address or customs form wrong, the package might take a long time to come back to you, but it will..the odds of loss are the same. My biggest beef with USPS right now is with domestic Media Mail shipments, which they have gotten a little over-zealous about opening and checking. Even when the box has fragile written all over it and is insured for hundreds of dollars. Apparently I'm supposed to trust that they will properly repackage everything...not good. JT On Thu, Feb 11, 2010 at 4:40 AM, Martin Dust mar...@dustscience.com wrote: On 11 Feb 2010, at 01:13, Detroit Techno Militia wrote: Too many issues shipping with USPS. If you want to take your chances, I'd be more than happy to pick one up for you and send it 1st class. :) Is the US postal service that bad? Everything we send seems to get through! m
Re: (313) Omar S Fabric 45 Mix CD -- $5 download on Amazon...
256, either vbr or cbr. Always 256 On Sun, Jan 24, 2010 at 10:12 AM, kent williams chaircrus...@gmail.com wrote: No, you don't get 320k -- I think Amazon is 192... On Sat, Jan 23, 2010 at 10:25 PM, kuszyn...@gmail.com kuszyn...@gmail.com wrote: Do you get 320k mp3s for that? i feel kind of cheated unless I get lossless. Now my 6 cd FLAC Suicide 77-78 box set, that was a good purchase. On Sat, Jan 23, 2010 at 7:54 PM, kent williams chaircrus...@gmail.com wrote: Pretty freaking great mix now $5 for download... http://tinyurl.com/y98s2qk
Re: (313) Omar S Fabric 45 Mix CD -- $5 download on Amazon...
http://www.amazon.com/gp/help/customer/display.html/ref=format_dp_wt?ie=UTF8nodeId=200154210#spec On Sun, Jan 24, 2010 at 11:11 AM, JT Stewart etmach...@gmail.com wrote: 256, either vbr or cbr. Always 256 On Sun, Jan 24, 2010 at 10:12 AM, kent williams chaircrus...@gmail.com wrote: No, you don't get 320k -- I think Amazon is 192... On Sat, Jan 23, 2010 at 10:25 PM, kuszyn...@gmail.com kuszyn...@gmail.com wrote: Do you get 320k mp3s for that? i feel kind of cheated unless I get lossless. Now my 6 cd FLAC Suicide 77-78 box set, that was a good purchase. On Sat, Jan 23, 2010 at 7:54 PM, kent williams chaircrus...@gmail.com wrote: Pretty freaking great mix now $5 for download... http://tinyurl.com/y98s2qk
Re: (313) DJ Funk
That's a regular rumor that surfaces periodically. No, DJ Funk is not dead. On Sun, Jan 24, 2010 at 3:56 PM, Ronny Pries r...@rohformat.de wrote: Heya, heard that DJ Funk passed away which would be quite bad news... One of my alltime heroes. Anybody got more info? Cheers, Ronny
Re: (313) DJ Funk
That's a regular rumor that surfaces periodically. No, DJ Funk is not dead. On Sun, Jan 24, 2010 at 3:56 PM, Ronny Pries r...@rohformat.de wrote: Heya, heard that DJ Funk passed away which would be quite bad news... One of my alltime heroes. Anybody got more info? Cheers, Ronny
Re: (313) new (old) music questions odd tip
Are you using OT for On Topic or Off Topic...I've only heard it use for the latter before, but then how can a Music Institute related thing be off topic? Wha? Anyways, KZR = Kai Alce. On Tue, Nov 17, 2009 at 5:01 AM, fran...@thatamazingthing.com wrote: Music Institute 20th Anniversary Series Pt. 2. OTness rating: high ;-) Write ups I've read say all 4 tracks on here are unreleased before. I like a couple of the tracks, particularly the very Larry Heard sounding one, I believe by someone called KZR, who I don't know anything about. I got excited when people started putting R-Tyme Derrick May in the write ups but it seems the track they're on about is D-Wynn only and not really my bag. Anyone know more / have definite info about this release? Paul Bennet EP (Modernista) OTness rating: ex-manc makes 12 in Greece but it sounds very 313. What I said, the 2 more laid back tracks on this are very nice, on a classic Detroit tip. Autechre - Oval Moon (IBC Mix) OTness rating: not really, I should join the IDM list to ask this question, but I'm hoping to be let off. This was on the recent Warp20 expensive box set thing on vinyl and has now surfaced again on the (Unheard) CD. So that means it was never released before these 2 recent outings? I'd like it on vinyl but not so much I have to pay over £120 for it.
Re: (313) new (old) music questions odd tip
For that matter, those Music Institute releases are on Kai's label, NDATL. On Tue, Nov 17, 2009 at 7:54 AM, JT Stewart etmach...@gmail.com wrote: Are you using OT for On Topic or Off Topic...I've only heard it use for the latter before, but then how can a Music Institute related thing be off topic? Wha? Anyways, KZR = Kai Alce. On Tue, Nov 17, 2009 at 5:01 AM, fran...@thatamazingthing.com wrote: Music Institute 20th Anniversary Series Pt. 2. OTness rating: high ;-) Write ups I've read say all 4 tracks on here are unreleased before. I like a couple of the tracks, particularly the very Larry Heard sounding one, I believe by someone called KZR, who I don't know anything about. I got excited when people started putting R-Tyme Derrick May in the write ups but it seems the track they're on about is D-Wynn only and not really my bag. Anyone know more / have definite info about this release? Paul Bennet EP (Modernista) OTness rating: ex-manc makes 12 in Greece but it sounds very 313. What I said, the 2 more laid back tracks on this are very nice, on a classic Detroit tip. Autechre - Oval Moon (IBC Mix) OTness rating: not really, I should join the IDM list to ask this question, but I'm hoping to be let off. This was on the recent Warp20 expensive box set thing on vinyl and has now surfaced again on the (Unheard) CD. So that means it was never released before these 2 recent outings? I'd like it on vinyl but not so much I have to pay over £120 for it.
Re: (313) anthony 'shake' shakir - frictionalism - [What about a new Shake LP stuff?]
I don't mean to speak for Shake, but I think this may be assuming too much. I first heard an album of new stuff from him in 2003 when we were sitting in car together on the way to the airport...From what I gathered, too much time went by and he has different ideas for an album now. At one point an album was scheduled on some label, but I don't think it's entirely because of that falling through that an album hasn't come out yet. He could put it somewhere if he really wanted to. I don't think he's in any hurry, he wants to do it as best he can, so I doubt he would ask what's the hold up. Just sayin. On Mon, Nov 9, 2009 at 8:57 AM, kent williams chaircrus...@gmail.com wrote: Shake can speak for himself, but I suspect if there's a hold-up, it may not be something that can be discussed in open forums, for any of a number of reasons.
Re: (313) Alex Cortex on today's techno scene
I find grand retirement announcements barely tolerable from artists I massively respect (like I-F), and I have nothing against Alex Cortex, but he is nowhere close to being in that league for me, although I liked some of his music just fine. I also find whining about the scene really naive and beyond obvious at this point. There's nothing insightful or constructive in his anti-scene ranting, it's trite and simpering. He hasn't made a track in 6 months and he's tried of club culture so he's retiring from making music? He doesn't make enough money, so he's flat-out retiring? Uh, okay, don't see how that should affect anyone who is really compelled to make music/art, so go ahead on then...See ya when you cool off and get it out of your system... On Fri, Oct 23, 2009 at 4:59 PM, kent williams chaircrus...@gmail.com wrote: Honestly if he's unhappy, godspeed and all that. But the downside he's describes to the 'techno scene' isn't a new thing. Where you have a party scene, you're going to have people doing things you may not be down with, you're going to have shallow people, you're going to have politics and backstabbing and bitchiness. In other words it sounds like pretty much every other professional scene I've ever been involved with. Only, in my experience, working at a University, by contrast doesn't have nearly as much in the way of hookerz and blow. So I don't know what he's going to do for a living where he'll be able to avoid a certain amount of negativity and bad behavior. Why not focus on the fact that you're actually making a living out of music, something lots of us would be feel blessed to be able to do? On Thu, Oct 22, 2009 at 3:45 PM, Ivan Tomasevic to...@tesla.rcub.bg.ac.rs wrote: http://www.testindustries.com/2009/10/alex-cortex-not-so-slight-return.html regards, ivan
Re: (313) Re: [idm] Do you sample?!
Everybody interested in this stuff should go read the interview with Rashad that Tristan linked. He says more than what Tristan quoted, namely that he does make adjustments in the mastering room to avoid phase problems, but they're usually so minor that the music isn't changed much at all. Also, that severe phase problems (180 degrees) are very rare. I would bet that most mastering engineers don't know how to deal with phase issues as well as Rashad, and probably trip up on phase issues he deals with no problem. On Thu, Oct 22, 2009 at 4:40 AM, cheater cheater cheate...@gmail.com wrote: No, the lathe is fed with a DC biased side component in which case there is always a certain depth above which the groove doesn't go and therefore the reading head is always held in place by that additional, say, 0.2mm of depth that is never used. You don't even compromise dynamics, because it's not like you'll ever run into the maximum depth a head can read. D. On Thu, Oct 22, 2009 at 3:20 AM, kent williams chaircrus...@gmail.com wrote: The groove is only so deep. If you have out of phase bass, the groove gets narrow and shallow and the needle pops out. game over On Wed, Oct 21, 2009 at 8:42 PM, cheater cheater cheate...@gmail.com wrote: No, to prevent this you don't make the bass mono, you just make the groove deeper. It's obvious to anyone who has ever drawn on wet sand as a kid.
Re: (313) new transmat
I agree, but they're both super duper wack club sh*t-turds. So, so tired. I could give a f about 'innovation' but for crissakes Derrick! Bring on Arne's record. On Thu, Oct 15, 2009 at 2:08 AM, Joe Marougi jmaro...@gmail.com wrote: Black Sun The Bridge
Re: (313) new transmat
This stuff is utter garbage and I'd call it that if it was on any label. It's pure dj/club throwaway stuff -- considered in that realm, I guess it could be considered pretty good quality club throwaway stuff, so I guess your point stands in that regard...but who cares. I want good music. Considering the style of this release I think Beatport first was probably a fine business move. I think that's the market for this, and if it'd come on vinyl first it wouldn't gather much steam in that format considering the style. He's putting it out on vinyl too in a few weeks anyway, although obviously I'm not after it, but I don't get the fuss. It's not like he's abandoned vinyl at all...or like there's even much delay between the formats...Is there rancor because it gives digital dj's the chance to play it first, by a few weeks? I have full confidence there will be better stuff to come. On Thu, Oct 15, 2009 at 2:10 PM, Frank Glazer cpe1704...@gmail.com wrote: Personally, I think if The Bridge came out on any other label than Transmat, more people would be singing its praises as a better than average techno record with noticeable Detroit influences. It killed at DEMF this year, was definitely the highlight of Derrick's set, and sounded amazing on a huge soundsystem. I am the first to slag progressive garbage, but I really think everybody is being a little too harsh. I'm a fan. The rest of this Gow guy's tracks though aren't really anything special.
Re: (313) The Indefatigable Mr. Atkins
Best I've ever read, 2nded
Re: (313) Juan Interview
I would assume he's referring to the fact that CD's are often mastered with heavy compression, and so while they often sound loud and upfront as all getout, they often have a noticeable lack of dynamics compared to vinyl -- they don't pop like well-cut vinyl does. That's something you only really notice in a club setting...I normally think of hot as you guys do, but dynamics make the distinction between good hot and bad hot for me. Any lover of recording and music should have love for all or at least most formats. Tape is great, vinyl is great, cd is great, etc. There's no such thing as better unless you solely focus on the science of audio (fidelity and technical specs etc)...There's no such thing as an objective better when there is so much subjective and artistic involved in making and recording music. There are only different methods which may or may not represent more accurately what the artist intended On Thu, Sep 10, 2009 at 10:45 AM, Martin Dust mar...@dustscience.com wrote: On 10 Sep 2009, at 15:40, Ravinder S Mann wrote: Wouldnt boosting all the frequencies make it sound . . . well I cant describe it but overdriven. I play about with the EQ on my stereo as we all do and that set up usually sounds rubbish. If anything I drop out the mid section a bit, boost the tops a bit and boost the bass a little more than the tops. Bearing in mind im doing this in a home set up but even though some Senn HD25 a 'hotter' EQ setting would not sound right. Maybe he is trying to gett the same kind of dynamic ommpf as vinyl from a CD player. Ravinder. It's hard to answer Ravi as he only says it in passing, so much depends on all the factors to be able to explain and usually it's the other way around in my limited experience VinylCD. m
Re: (313) Juan Interview
Yeah. That's like the usage in a mixer manual. Hot is multi-purpose slang though. When you describe music as hot it could mean a few different things and possibly any or all simultaneously. Hot like great, hot like banging, hot like virtuosic, hot like a recording that pops...hot like really loud and upfront (but not overdriven), or hot in the same way like the mixer manual says, overdriven. On Thu, Sep 10, 2009 at 6:35 PM, Martin Dust mar...@dustscience.com wrote: JT Stewart wrote: I would assume he's referring to the fact that CD's are often mastered with heavy compression, and so while they often sound loud and upfront as all getout, they often have a noticeable lack of dynamics compared to vinyl -- they don't pop like well-cut vinyl does. That's something you only really notice in a club setting...I normally think of hot as you guys do, but dynamics make the distinction between good hot and bad hot for me. Hot to me means something is running louder than normal, for example when we played in a club in Sheffield we always had the Mids way up on the mixer because the sound system and blind spots did a great job of cutting them for some reason, so we ran them hot. m
Re: (313) Playing In China
Well said Martin, I completely agree with your stance when framed this way. I didn't agree with the framing of the problem as something to do with ex-pats and rich people, since you may play for those sorts in any city. It seemed to be framing the issue as a problem with the audience, or lack of an authentic audience. I have a few friends in China and I have a few customers (collectors of rare 78rpm records) in China and Taiwan. I've got a few friends that have traveled there extensively and a few who lived there for a few years. There used to be a Chinese guy on the CBS forum. Repeatedly mentioning whatever experience Surgeon had in a big club in Shanghai is pretty inane. It's just one man's experience, and frankly it's no surprise that playing in a big club in a big city for a big paycheck could result in a crowd full of rich people and ex-pats. Nobody here seems to have any real experience in China, so while it's fair to take a principled stance against the gov't according to what you've learned through various media, and to put some stock in what you've heard of Surgeon's experience, it only goes so far in giving you an informed opinion and conception. Not very far. I have as many problems with the Chinese gov't as you, and certainly playing a high-profile gig for a random crowd (ie going there to do business) could be construed as an endorsement or at least as a blind eye. I don't play many of those shows in the first place. It's not hard to imagine playing some off-the-radar party for a few fans and genuinely interested people. That's mostly what I play anyway. JT On Wed, Sep 9, 2009 at 4:51 AM, Martin Dust mar...@dustscience.com wrote: On 8 Sep 2009, at 16:20, David Powers wrote: I would argue that the USA and UK have regimes that are just as bad as China. By your logic DJ's shouldn't play at all! ~David You could but I have even greater difficulty with the Chinese Government: 1. The lack of free speech and free thinking: http://www.hrichina.org/public/index 2. It's active use of apartheid systems. 3. It's treatment of Tibet. 4. It's human rights record. For myself, I just could not bring myself to support any of that in any way, shape or form. And where I can't avoid it (iPod/Laptop/TV) I give money to http://www.plan-uk.org/ and have done for 10yrs, we support a couple of people in China with a plan for people to work their way out of poverty - I even had problems with that at one stage because I was worried that it was patronising. I find their letters heart breaking and the fact that I have to watch what I'm saying or sending in my letters makes he even more angry. It's very difficult/complex and I don't think I explained myself well enough yesterday but I really and honestly don't want a cheap holiday in other peoples misery nor do I want to play only to the expats and elite who can afford it, in my heart of hearts I know that it's not right. m
Re: (313) DJ Bones interview
Oh for f's sake. Replace you with we. I'm speaking in generalities. But you did seem to insinuating that only ex-pats would come out, as per your Surgeon example. Perhaps I read into that? It seemed to represent a larger point. On Tue, Sep 8, 2009 at 12:24 PM, Robert Taylorrdtay...@channel4.co.uk wrote: It's hard to respond to your post when you seem to be replying to things I never said. I didn't claim to understand politics there and neither did I say that real Chinese people wouldn't appreciate outside culture. Maybe you're replying to the wrong person - it's hard to tell as you haven't quoted anyone Rob Taylor VT Librarian x8599 Hatch Desk x1088 VT Library Users' Guide -Original Message- From: JT Stewart [mailto:etmach...@gmail.com] Sent: 08 September 2009 17:19 To: Robert Taylor Cc: list 313 Subject: Re: (313) DJ Bones interview China is a big country. In some places people are persecuted for things they are not elsewhere. It's a very complex country and as everyone knows it's in the midst of a rapid transformation. Who are you, as an uninformed foreigner, to presume you understand the politics there...and to then make some leap of logic that real Chinese people wouldn't appreciate outside culture? It sounds utterly moronic to me. # Note: Any views or opinions are solely those of the author and do not necessarily represent those of Channel Four Television Corporation unless specifically stated. This email and any files transmitted are confidential and intended solely for the use of the individual or entity to which they are addressed. If you have received this email in error, please notify postmas...@channel4.co.uk Thank You. Channel Four Television Corporation, created by statute under English law, is at 124 Horseferry Road, London, SW1P 2TX . 4 Ventures Limited (Company No. 04106849), incorporated in England and Wales has its registered office at 124 Horseferry Road, London SW1P 2TX. VAT no: GB 626475817 #
Re: (313) DJ Bones interview
China is a big country. In some places people are persecuted for things they are not elsewhere. It's a very complex country and as everyone knows it's in the midst of a rapid transformation. Who are you, as an uninformed foreigner, to presume you understand the politics there...and to then make some leap of logic that real Chinese people wouldn't appreciate outside culture? It sounds utterly moronic to me.
Re: (313) DJ Bone denied entry into UK
You can go ahead and fly over without a work visabut anybody who does this should be informed enough to know you don't tell UK customs that you're there to DJ etc which I imagine Bone probably did. I learned that the first (and only) time I flew direct to the UK and was nearly denied entry. Arrived with $300 in my pocket and no phone number for anyone..Just here to hangout with friends I said, whilst towing 150 pounds of gear. They were aghast. Thankfully Alex Bond was there to pick me up and diffused everything. And thankfully it was at the Manchester Airport and not in London.
(313) Marcello Napoletano
Does anybody know much about this guy? His record on Mathematics is killer killer killer super killer Prescription inspired house stuff...if you like Prescription this is a must! I see he has a few mp3 releases but this is his only 12 and there's no other info on Discogs Are his Mp3 releases similarly Prescription style? Or similarly good? I want more (on wax!) JT
Re: (313) 15 years
1995 here too On Fri, Jun 5, 2009 at 7:41 AM, robinro...@fivetones.org wrote: I think that beats me. I've been on here since 1995 I think (as rob...@chem.leeds.ac.uk, originally). Congrats Marsel! :) robin... On 5 Jun 2009, at 12:30, kent williams wrote: It means you're eligible to be in the grizzled elder pictures from DEMF: http://tinyurl.com/pknn5s Since the list was started in 1994, you must be one of the OG 313'ers. On Fri, Jun 5, 2009 at 5:05 AM, Marsel van der Wielenmar...@nomorewords.net wrote: i suddenly realized i'm almost 15 years subscribed to this list did i win any? 313 watch?
Re: (313) 15 years
Ignore Joe (/0 because he's so future) On Fri, Jun 5, 2009 at 6:43 PM, /0r3dsh...@chartermi.net wrote: if you get into EDM and have to be genre focused, choose something that is less self contradictory than detroit techno, the future music that does nothing but chase the past. today is never as good as yesterday in the world of detroit techno. -- From: kuszyn...@gmail.com Sent: Friday, June 05, 2009 5:01 PM To: Garrett McGrath g...@7mzdt.com Cc: JT Stewart etmach...@gmail.com; robin ro...@fivetones.org; kent williams chaircrus...@gmail.com; list 313 313@hyperreal.org Subject: Re: (313) 15 years So what's your advice to young 313 list'ers? On Fri, Jun 5, 2009 at 4:24 PM, Garrett McGrathg...@7mzdt.com wrote: '95 or '96 for me.. somewhere in there. too many email addys. On Jun 5, 2009, at 5:31 AM, JT Stewart wrote: 1995 here too On Fri, Jun 5, 2009 at 7:41 AM, robinro...@fivetones.org wrote: I think that beats me. I've been on here since 1995 I think (as rob...@chem.leeds.ac.uk, originally). Congrats Marsel! :) robin... On 5 Jun 2009, at 12:30, kent williams wrote: It means you're eligible to be in the grizzled elder pictures from DEMF: http://tinyurl.com/pknn5s Since the list was started in 1994, you must be one of the OG 313'ers. On Fri, Jun 5, 2009 at 5:05 AM, Marsel van der Wielenmar...@nomorewords.net wrote: i suddenly realized i'm almost 15 years subscribed to this list did i win any? 313 watch? -- kuszyn...@gmail.com www.planerecordings.com New York, NY
Re: (313) Drexciyan Connection EP reviews? + Son Of Cybotron
don't have it, but i'm not too excited by the clips...the drexciyan conection is in those two producers for sure but i don't hear it in the music there, except for much hate which sounds pretty cool...that heinrich track sounds like aphex a bit, but not in a way that's making me excited... on the other hand what about that NEW ART FOREST record!??! as Son Of Cybotron on DBASS (D.I.E.'s label before M.A.P. right?)...really, really great sounding IMO... and it's Art Forest!! http://www.rushhour.nl/store_detailed.php?item=50602 On Tue, Jun 2, 2009 at 8:00 PM, Southern Outpost senti...@southernoutpost.com wrote: Anyone picked up this new ep by Dj Stingray and Heinrich Muller on WeMe? Any comments? http://bleep.com/index.php?page=release_detailsreleaseid=20281 Cheers, Patrick.
Re: (313) The Omar S Effect
Ha! That's a nice 'thank you'. I saw something about a 4 hr Omar S set...that would be even mroe impressive if it was this one On Thu, May 28, 2009 at 5:57 PM, kent williams chaircrus...@gmail.com wrote: Video of Japanese woman dancing to Omar S. I thought she was great, but what was really impressive is that she was doing this for Omar's ENTIRE SET. http://tinyurl.com/ltvbf9 After Omar finished up: http://farm4.static.flickr.com/3357/3572584231_b8cfcd59bd_b.jpg
Re: (313) DEMF statistics revealed
Programming of the fest has never been as good as in the first 2 years, and those that don't realize that, i don't know. i say this I agree, but some other years were damn good too. It's entirely possible that the best is yet to come. And finally, a big mistake is the absence of DJ Hell. He merits a Gigilo is/was a popular label, that's for sure. And it stands to reason that if Adam X has played, Hell should too. But I'm not nearly as enthusiastic about it as you are.
Re: (313) What does Live mean these days?
On Fri, Apr 17, 2009 at 4:43 AM, Williams, Graham gwilli...@eds.com wrote: The way I see it is, when you just use Abelton and a midi controller, it's not really live. It's just pressing play and tweaking a few knobs. That's overly arbitrary and quite unfair. There are many ways to use Ableton. As far as I know, most people use Ableton in a live situation in Clip Mode, where each clip is a separate percussion loop, synth part, etc. Starting and stopping the clips is really no different than starting and stopping tracks on an MMT-8. You push a button or turn a knob on a controller instead of pushing one of the track buttons on an MMT-8 in order to arrange a track on-the-fly. Yes, you can just push play in Ableton and tweak a few knobs. But that's nothing new. You could load entire song sequences into an MMT-8, or any other sequencer, and push play and tweak a few knobs as well. There's really no reason to accuse Ableton of allowing some sort of cheating/simple performance that wasn't possible before. Anybody who wants to perform a canned set has been able to perform a canned set for a couple decades now. The truth is that Ableton is a great performance tool with many more possibilities than any old hardware sequencer + sampler combo. I think what you guys are criticizing is endemic to laptop performances in general and not Ableton per se. Yes laptops homogenize performances, and don't provide much in the way of appreciable performance for most audiences, what's going on back there is usually a mystery. The easy availability of Ableton, to anybody and their mom who wants to do a liveset, perhaps makes it seem like anybody can do it. Personally I think using an MMT-8 was easier (the instructions are in the lid FFS!) and provided considerable oppurtunity to cheat as well, that's sequenced music for ya.
Re: (313) New Music
Nebraska - Satellite Variations - Rush Hour More Nebraska awesomeness from Alistair Gibbs. These are older cuts that, given the style, should sound dated. They don't though, well worth picking up. There's also the Terrestrial Variations EP out too that I haven't picked up yet. I don't understand. Why should they sound dated? Satellite Variations is the one that's a few years old. Terrestrial Variations is the one that's about 10 years old and is far superior IMO. Buy the album on Down Low Music please !
Re: (313) more demf performers announced
It looks better than I expected. I hope they ask Convextion to play someday.
Re: (313) Record packaging [was: (313) mysticism in electronic music (and where has it gone)]
I complete disagree with this I've always thought that it was the label's job to provide me with the output of the artists, this is just consumer/brand infection, I'm a weapon of mass consumption and I have the right BS, some things are just not products. I absolutely agree. That was offensive to me. Job?! I don't want another stinkin' job
Re: (313) Record packaging [was: (313) mysticism in electronic music (and where has it gone)]
I absolutely agree. That was offensive to me. Job?! I don't want another stinkin' job I wasn't offended, I know where Tristan is coming from. Me too. I was kidding about being lazy.
Re: (313) mysticism in electronic music (and where has it gone)
Yeah Yeah JT, no one claimed to be an expert! ;-) On Mon, Mar 16, 2009 at 11:12 AM, Odeluga, Ken ken.odel...@dowjones.com wrote: I am an expert :D It's just a forum, we're just 'shooting the breeze', it's not gospel or anything like that, rather it's opinion. I think that's clear to most people. But not me? When you (abstract) start talking about how vinyl is on it's death-bed or predict it's demise AGAIN I find it too ridiculous to let stand. That opinion is really annoying and flies in the face of fact. I'm interested in your 'it's not just for the consumer' idea though. While I can see what you mean to an extent I think it needs to be balanced with just those very consumer orientated imperatives that that sort of idea seems to eschew. Or else what are you doing what you're doing for? Art with no audience? If it's recorded then there is a medium, and vinyl is hardly an out-of-reach medium. So there is an available audience. But to humor your question, YES. Artists do not do what they do for the sake of the audience. Most of them anyway. Alienating the audience is not a concern. If the artists stops making their art in a way that is fulfilling for them...what happens? Don't you think that's pretty important?
Re: (313) mysticism in electronic music (and where has it gone)
Louis said everything I was going to say (and better) in my response to Tristan. The only thing that I would add is that dealing with selling your stuff digitally is a different process than pressing up vinyl and it's much less personal and fulfilling as a label owner/artist. The collaborative effort is pretty much out the window. Not to say that there aren't some great folks working at digital download sites. It's simply not as much fun. And I'm not sure what you were saying about administrative costs T. Depending on whether you do your own mastering or not, there are none. But managing digital content and dealing with sites takes time. And regarding that, refer back to my last paragraph. I find it quite a pain in the ass. If the money were better I might change my tune. But it's not good enough for me to at this point and considering how entrenched iPods and the digital market is at this point, I wonder how much more things could improve. And a last important point is that digital has the tendency to invalidate the notion of an EP or LP, ie narrative, ie a more complex listening experience. That sucks. It really is not a nice feeling that music consumers can and usually do ignore whatever you (the artist, the label) were trying to communicate. It's great some digital buyers pick up whole releases. And I also understand it's nice to just buy the one or two tracks that you deem worthwhile and skip the ones you think aren't. But almost nothing about digital is actually better for art itself; it's all access, convenience, individual imperative. And in fact it makes the art more homogenized, not in terms of content but just about everything else, and disposable. So yeah. I don't really like it and I can sure understand why guys like KDJ haven't jumped into it yet. I'm actually working on a digital relaunch of the dL catalog like, right now. And I'm working on a few new vinyl releases. Bye. JT On Tue, Mar 17, 2009 at 10:47 PM, louis haiman fwdthou...@hotmail.com wrote: From someone that has no inclination to get into the vinyl game, yet I have TONS of respect for those in their unwavering support of vinyl... Having your work on vinyl is incredibly special. Ask a painter. Ask a stage actor. Ask any craftsperson. You'll find many common sentiments that answer the vinyl question. It's a purely emotional thing. Again, I don't do vinyl, would love to, but... All I can say is, think about how incredibly awesome it is when you stand in front of an original, awesome work of art. A human being labored over that canvas, slab of stone, etc. I think vinyl provides that same kind of connectedness. As for alternative/ dominant formats like MP3s, even CDS, (formats that I deal in)...it can be a little mindless and you need to be careful where your music ends up. It takes NOTHING to post MP3 files to a server, website, social network. Again, it's purely an emotional thing. Music is a craft and vinyl honors it best. Many artists would feel comfortable in saying that their art is not for everyone, not to alienate anyone, but out of self awareness. PEACE. OUT. Louis Date: Tue, 17 Mar 2009 19:34:26 + From: phonop...@googlemail.com To: etmach...@gmail.com CC: ken.odel...@dowjones.com; gwrenc...@sbcglobal.net; 313@hyperreal.org Subject: Re: (313) mysticism in electronic music (and where has it gone) On 17/03/2009 14:08, JT Stewart wrote: If it's recorded then there is a medium, and vinyl is hardly an out-of-reach medium. So there is an available audience. But to humor your question, YES. Artists do not do what they do for the sake of the audience. Most of them anyway. Alienating the audience is not a concern. If the artists stops making their art in a way that is fulfilling for them...what happens? Don't you think that's pretty important? Absolutely it is, but I'm struggling to understand what's unfulfilling about providing music in an additional format - especially if there's less risk than there is through the other mediums already out there. Is it that the package itself is 100% essential? Is it a desire to enforce audiophilia by suppressing compressed formats? Is it that the administrative overhead of distributing mp3s is so high? Re: this last point JT, I'm very surprised by this - can you elaborate at all? Or is it some combination of all of this? I'm not trying to say any of these reasons are invalid I just don't understand why adding a format would somehow ruin the whole endeavour for somone unless the core impulse is to force everyone else to share their values about music formats. And if alienating an audience is not a concern then why mass produce something at all? Playing devil's advocate to some extent, but part of me really doesn't geddit. Tristan Express your personality in color! Preview and select themes for Hotmail®. See how.
Re: (313) mysticism in electronic music (and where has it gone)
A lot of people assume that what they themselves (especially) and their friends are doing, as far as buying habits, is what everybody is doing. And than make proclamations about the fate of the medium they're leaving behind as if they are experts. Vinyl still sells. In fact some labels are doing _very_ well selling vinyl. I might point to certain (mostly) bootleg label. Digital sells, but it's not as easy to manage/produce content as you might think, or as it is to buy. It's also not as fulfilling for many artists and labels. It's not always all about the consumer. Music is and always will be art as well as a commercial product. JT On Tue, Mar 17, 2009 at 12:31 AM, Richard Hester gwrenc...@sbcglobal.net wrote: I don't know about the NSC etchings (RIP, Ron), but I was just digging in crates for vinyl not an hour ago (found some, too). You can't put your hands on an MP3... Martin Dust wrote: The days of digging crates for vinyl with nsc etchings are passed. I wouldn't be so sure about that, I can see labels/distributors doing small runs and still keeping the quality release up. I know a lot of people think vinyl is a pain in the jack adams but I still love the process dearly. m
Re: (313) mysticism in electronic music (and where has it gone)
I may have posted this in the wrong thread. I deleted the thread with people foretelling vinyl's doom and complaining about not being able to buy everything digitally. Sorry On Tue, Mar 17, 2009 at 12:59 AM, JT Stewart etmach...@gmail.com wrote: A lot of people assume that what they themselves (especially) and their friends are doing, as far as buying habits, is what everybody is doing. And than make proclamations about the fate of the medium they're leaving behind as if they are experts. Vinyl still sells. In fact some labels are doing _very_ well selling vinyl. I might point to certain (mostly) bootleg label. Digital sells, but it's not as easy to manage/produce content as you might think, or as it is to buy. It's also not as fulfilling for many artists and labels. It's not always all about the consumer. Music is and always will be art as well as a commercial product. JT On Tue, Mar 17, 2009 at 12:31 AM, Richard Hester gwrenc...@sbcglobal.net wrote: I don't know about the NSC etchings (RIP, Ron), but I was just digging in crates for vinyl not an hour ago (found some, too). You can't put your hands on an MP3... Martin Dust wrote: The days of digging crates for vinyl with nsc etchings are passed. I wouldn't be so sure about that, I can see labels/distributors doing small runs and still keeping the quality release up. I know a lot of people think vinyl is a pain in the jack adams but I still love the process dearly. m
Re: (313) Duplex mix
I know most of the tracks, but I don't often see them in a mix (like juan's mix of heavenly, which is one of my all-time fave's, or the shop track...sure i know it but nobody drops that shop track in a mix). nice.
Re: (313) odd question
Can't barely hear it! Maybe Stacey Peralta made it, he had some hot jams On Sun, Feb 22, 2009 at 9:31 AM, Marsel van der Wielen mar...@nomorewords.net wrote: anyone idea which is this old school electro / breaktbeat tune? http://www.youtube.com/watch?v=7oI_T1b0uas starting 57 sec
Re: (313) Omar S interview
Aww yeah! 3 And Tom's writing for Resident Advisor now (or am I late?), nice! 2009/2/4 robin ro...@fivetones.org: http://www.residentadvisor.net/feature-read.aspx?id=1010
Re: (313) what's new with REAL Detroit releases?
Just to 2nd Jwan, I agree that Planet E has fallen off. Bland and generic and euro sounding. That K Larkin album was really bad too. Dope Jams has a hilarious description of it on their site. The Shake comp sounds awesome. Best of Frictional would do nicely, with maybe a smattering of tracks from Metroplex, Puzzlebox, Dust, etc. Hope that would be a precursor to a bonafide Shake album, which has been in the wings for the better part of a decade now..
Re: (313) Closure of the Clone record label
The truth is, I suspect none of us outside of Clone can actually know the complete reasons for sure - but maybe you definitely do? If so, please excuse me. I think it's pretty clear from their message what's going on. It's a pretty long message. They don't leave many questions unanswered. I talk to those guys pretty often too. Speculate on this! : There's a new distrib company in Detroit, Fit Records-- http://fitrecords.com ; their website is very similar to Clone's. They are Clone's USA liaison for freight shipments. Good stuff
Re: (313) what's new with REAL Detroit releases?
just call it bootlegging, and stop trying to elevate that to creating... In case no one bothers to look, they almost exclusively bootleg stuff like Nirvana and Devo songs on 12 singles and sometimes do simple edits of the stuff. They're not bootlegging records in the sense that they are making counterfeits (such as HTFR et al). They're also quite obviously bootlegs/promos -- plain white labels with block text. Big whoop. i think avowed bootleggers have no place dissing mr kenny larkin. and then they diss MM too. I forgot how hard it is to press up tracks Everybody has an opinion, and for a record store to actually be honest about theirs instead of copying the promo sheet or typing up the typical hype is extremely refreshing. Obviously they won't be selling as many of those Larkin albums as they would without that review, so there is no self-interest in it. I thought it was funny, but I'm not a huge Larkin fan... anyways, dissing planet e is wackif buttrich is too euro, how about ican, too latino or hispano ?, the how about list goes on and on.. I've been listening to Planet E records and have been friends with Planet E artists and staff for long enough to be entitled to my opinion, thank you. I think the recent records are weak and sound like fodder for European clubs (Larkin's aside). They do not affect me emotionally in any appreciable way. I have the first Buttrich and the Ican so I'm only talking about 2 or 3 releases. American techno is in shambles but what else is new.
Re: (313) what's new with REAL Detroit releases?
On Wed, Jan 28, 2009 at 4:06 PM, michael.elliot-kni...@fallon.com wrote: I think it's unethical to give as superficial a review as that and yet try to profit from it. Larkin put some time and effort into making the record. The best they could do is put some time and effort into writing a proper review. You guys are making a big deal out of some very inconsequential nonsense and trying to conflate it into deep ethical issues. COme onnn...I don't have the energy for this... Obviously they're not trying to profit from it if they're giving it a bad review. They are discouraging people from buying it. They're a record store and they can't just not carry it because they don't like it. FFS. Can I get some amens from people who actually work at/run record stores?! It's not unethical to sell work they think is weak - but to give a review that reveals less than nothing of the musical work AND try to profit from it, that's weak. Well, it's music, so you listen to it...And if you're familiar with the taste of the store, then it says more than it seems to I guess. Every online store, aside from the rare exception like Boomkat, just writes a sentence or two describing the style of the music and says Tip! or not. Hardwax says complete nonsense half of the time, I don't know who's writing their stuff these days. Otherwise most every store just copies the promo sheet, which makes me barf. When did words start mattering so much? I just listen to it. Or I go to Boomkat and read what they have to say. If they don't have anything to say about it (and it sucks beyond belief isn't saying anything) then they should not review it. I disagree. It made me laugh and it made me respect them for being honest. I only tell customers that records suck over the phone...
Re: (313) happy valentines day for cali peeps
But it's with Dam Funk! Juan will be playing electro...I forget what what you said about the last time you saw him though, just assuming he played garbage... On Wed, Jan 28, 2009 at 11:44 AM, southernoutpost southernoutp...@gmail.com wrote: After Juans effort last time in SF @ the elbow room, I'm going to steer well clear. It's a shame, but have been burnt one too many times so to speak. = Southern Outpost http://www.southernoutpost.com Sydney - San Francisco - Berlin Infiltrating your sound systems = On Jan 27, 2009, at 11:01 PM, anth...@technoiraudio.com wrote: looks like egyptian lover with great guest in L.A. I heard he killed it at last years demf. Also juan atkins in Frisco with Dam-funk dooin an electro/boogie thing on valentines day. here's the flyer's: http://www.stonesthrow.com/news/2009/01/prince-paul-and-peanut-butter-wolf
Re: (313) Closure of the Clone record label
Nobody wants to read another embittered tirade about the collapse of the market for vinyl and for paid music in general, even if it's painfully correct. The message says the label was doing well, so to read it as a comment on how vinyl is dying or how music sales are struggling is not accurate at all, I think. I think they honestly have no direction right now and feel like they've done everything, so they'll be trying some different things for awhile. Will probably be interesting..
Re: (313) Time's Up
I just bought my first new records since May: new KDJ (Det.riot), Trusme Classics, and two recent ones from Theo P (Goin Downstairs, and Chemistry) ...from Dope Jams. I haven't been able to pay much attention to things most of this year but I think there's probably a massive amount of quality Detroit-related stuff I missed.. How is that Black Dog vs Rob Hood thing?
Re: (313) UR interviews on Kazuumi Ishii's Electronic Directory site
I don't live in LA, but sure wish I could go. Super cool that Santiago is doing a special wavejumper set on the low, and I'm taking it as a sign from the deep that it's on the 19th since that's my birthday and I'm a massive, ridiculous Drexciya fan (I used to live on a Stinson St, which I re-dedicated in my mind). 'Red Hills of Lardossa' is also a Drexciya track (last track on Drexciya 4), but y'all probably knew that. On Tue, Dec 16, 2008 at 3:55 PM, Greg Earle ea...@isolar.dyndns.org wrote: Nicked shamelessly from a Santiago (DJ S2) Salazar MySpace Bulletin post: http://www.electronicdir.jp/2008/12/electronic-directory-represents-underground-resistance/ -- BTW, for the LA-ites; Santi is spinning a special Drexciya set this Friday at an event called Underwater Dream: http://c4.ac-images.myspacecdn.com/images02/20/l_31d85d8c33ed4c2f98b6d75dadce80cf.jpg Call 626-737-6242 on Friday for the 411. He's billing it as SPECIAL UNDERWATER DJ SET FEATURING TRACKS FROM LARDOSSA! (Lardossa being a place James Stinson described to 313's own Andrew Duke in an interview back in 1999.) - Greg
Re: (313) Kanye's New LP
I didn't really dig any of the new Kanye stuff I heard, but I like him fine. He is an open-minded music fan. Soultek (aka Echospace and sorta part of Deepchord now? Dunno) was at a studio in Chicago a few years back and was recording/playing some of his stuff...Kanya was hanging out in the commons room or something and was really excited about it and was also apparently super nice. So there's a totally mangled and silly second hand story but still...cool. I love autotune, I just didn't get into the new Kanya stuff. But he's definitely an artist and legitimate music fan and not just mainstream crap you can write off as mainstream crap. I've been really into that Beyonce Single Ladies song for like 3 days so far. I like the beat, techno/dubstep (or whateverstep) bite but it's nice...pads wooo! and the video is super.
Re: (313) Juju Jordash: Moonship Journey
I love the video...They look like they're goofin around some..and great music. I really want to pick up some of their records... On Mon, Dec 1, 2008 at 8:39 PM, Samuel Karmel [EMAIL PROTECTED] wrote: whoops...:^P blha ha hooza On Mon, Dec 1, 2008 at 11:44 PM, gavin morrissey [EMAIL PROTECTED] wrote: if you're looking for more mixes, a search for jordash on djhistory will show up a few http://www.djhistory.com/forum/search.php?searchid=318658 g On Mon, Dec 1, 2008 at 9:58 AM, Andrew Beddow [EMAIL PROTECTED] wrote: It was new in April, when the original email in the thread was sent. On Mon, Dec 1, 2008 at 2:16 AM, Samuel Karmel [EMAIL PROTECTED] wrote: This is a cool mix recommend However i got it ages and ages ago...new is a bit far fetched r there any other mixes of theirs floating around? sam On Mon, Dec 1, 2008 at 11:16 AM, Michael Kuszynski [EMAIL PROTECTED] wrote: I just saw these guys video link here, which I guess was posted elsewhere, but I post again out of ignorance: http://vimeo.com/2345920 Never heard of them, never had a clue, and they seem really freakin awesome. Real nice ambience, deep groovy drums, feels like smart computer detroit compatible improv, which to me is about as good as it gets. On Tue, Apr 8, 2008 at 7:57 AM, robin [EMAIL PROTECTED] wrote: Woo! I love these guy's stuff. Just DL'd it. robin... On 8 Apr 2008, at 13:02, Thomas D. Cox, Jr. wrote: we have a new mix by JJJ up at ISM, check it out here: http://infinitestatemachine.com/2008/04/07/guest-mix-juju-jordash-moonship-journey/ tracklist: 1.Art Ensemble of Chicago- Reese and the Smooth Ones - Affinity 2.Sun Ra - Moonship Journey - Innercity 3.Tangerine Dream - Sorcerer OST Main Title - MCA 4.Drexcia - Oxyplasmic Gyration Beam - Tresor 5.Zazou Bikaye Cy1 - Lamuka - Crammed Discs 6.UB40-Return of Dr. X - Epic 7.Cabaret Voltaire - Black Mask -Rough Trade 8.Klaus Schulze - Irrlicht - Ariola 9.The Human League -Do Or Die Dub - Virgin 10.Patrice Scott - Raw Fusion - Sistrum 11.Omar S - Psychotic Photosynthesis - FXHE 12.Grackle- Grackle Jungle(Legowelt remix) - Strange Life 13.Newworldaquarium - The Force - Delsin 14.David Sylvian/Holger Czukay - Premonition - Virgin 15.Chas Jankel - Just A Thought - AM 16.Grace Jones - Unlimited Capacity for Love - Island 17.Kraftwerk - Tongebirge - Philips tom -- --- Michael Kuszynski [EMAIL PROTECTED] [EMAIL PROTECTED] http://www.planerecordings.com New York, NY
Re: (313) Kanye's New LP
Ahh, so the thread is going the sampling does not equal creativity route. Analog rules, Hawtin sucks, Techno must innovate, Hitler
Re: (313) Kanye's New LP
...but in general, yes, most sampling does not bring much creativity. You need to take that Hitler shite elsewhere, though. Hahaha sheesh! My humor may be stupid but it's still humor, barely.
Re: (313) Re: Rob Hood this Friday?
As for Saturday, I have it on reliable authority that Rolando is no longer going to be playing. If you want to know why, you need only read this posting from someone in his camp ... http://www.cruisecritic.co.uk/memberreviews/memberreview.cfm?EntryID=3566 I'm really struggling to understand what an ocean cruise review from 2004 (from someone who is not him in the first place) has to do with this. I think you've all lost your minds.
Re: (313) Christian Vance
Super nice music. Very c2 stylo but with some gorgeous sounds (dig the harp-like sound in 'Tiger Snake'). Super Ritchie haircut but I forgive him. On Wed, Nov 26, 2008 at 2:33 AM, Cyclone Wehner [EMAIL PROTECTED] wrote: This is one of Melbourne's most interesting producers - his first release on Ripperton's label. Tell me what y'all think! He's heavily influenced by Detroit and has played (and toured) many a great name so you may pick up on that! http://blogs.myspace.com/index.cfm?fuseaction=blog.viewfriendID=99687175blogID=447605789 Cyclone Wehner Urban/Dance Music Journalist [EMAIL PROTECTED]
Re: (313) New Rolando on Delsin
On the subject of Rolando Jaguar etc, I had somehow never seen the official video for Jaguar until recentlyit's so, so great! http://www.youtube.com/watch?v=0JpD5skqGOo I'm not wild about the Delsin release from the soundbites, but to echo...i'm sure it's nice in a club (..lub...ub...b). I am really happy just to see a Rolando record on Delsin, though. @Jason me luv Aroy tooo
Re: (313) RIP Marc Moulin
Placebo is cool, but for those who haven't clicked the links, and for a lot more direct 313-connect, Marc Moulin was the man behind Telex. Telex is much more near dear to my heart than Placebo, I have to admit. Here's the genius video for Moskow Diskow. http://www.youtube.com/watch?v=DFWdobNIcPQ
Re: (313) Morgan Geist interview
Anybody who lives on a budget will take pride in getting something for nothing. That is how it works. Of course R-a-D will keep selling Serato. It's a good product. Refusing to sell it would be like refusing to sell blank cd's because people use them to burn bootlegs. Please! And R-a-D, like any other music retailer, needs all the sales they can get. They are not in any position to make any significant, broad-reaching change to how the music business works these days, especially since there is no clear way to make it work any better. The business has dug itself into a hole. It panicked about digital music file sharing; it was way too late in noticing the potential of the technology, and when it did it tried to lock it down, and they're still trying to, and it's not ever going to succeed. It is one of the biggest f-ups in the history of the music business. Policing the internet seems like an impossible task, but it will be done more and more, corporate technology will eventually, finally, really tamp out nearly all file sharing...that is my prediction. It's been catching up for the past few years.. On Mon, Sep 29, 2008 at 6:23 AM, [EMAIL PROTECTED] [EMAIL PROTECTED] wrote: A very quick interjection from me! We're a record retailer but we also sell DJ and Studio equipment- we currently sell around 10 Serato systems a week and the number has been growing steadily over the last 2 years. Almost without fail the customer will tell us with a big grin on their faces that Serato is great because I don;t need to pay for music anyomore- I just download it for free. It's so short sighted it almost beggars belief- the majority of these people are actually taking pride in getting something for nothing. Jason Rubadub
Re: (313) Morgan Geist interview
On Mon, Sep 29, 2008 at 11:15 AM, JT Stewart [EMAIL PROTECTED] wrote: Anybody who lives on a budget will take pride in getting something for nothing. That is how it works. I should add to this -- digital theft is not a concept that is readily understood by the masses yet. I highly doubt many people who torrent or fileshare think of it as theft, not in any sort of serious way. The goodies are right there for the taking, and nobody seems to notice when you've taken the goodies either. There is so much grey area morality involved. The idea of consequences from the clicks you make while sitting in your home in your underwear and a beer is not a reality for most people yet. That is a reason why the RIAA and MPAA are using scare tactic lawsuits. But they're late, and it amounts to punishing essentially innocent people for their own lateness. It's just a total mess, but I imagine that digital theft will be increasingly policed, and increasingly more ably policed, and the idea of digital theft will be a much more broadly understood crime by the mainstream in the not-too-distant future. It's inevitable.
Re: (313) Morgan Geist interview
morality involved. The idea of consequences from the clicks you make while sitting in your home in your underwear and a beer is not a Yep I get in my undies and sit in my beer.now that's livin.. Oof I'm done
Re: (313) Digital Theft was Re: (313) Morgan Geist interview
Well, sorta. Wave goodbye to DJ Mixes that haven't gone through proper channels. It sucks I know. It's sort of a replay of the record industry's response to cassette tapes when they came into popular usage in the early 80's...they really hated mix tapes and tried to kill home cassette recorders. On Mon, Sep 29, 2008 at 12:07 PM, robin [EMAIL PROTECTED] wrote: Changed the subject line. That is a reason why the RIAA and MPAA are using scare tactic lawsuits. But they're late, and it amounts to punishing essentially innocent people for their own lateness. It's just a total mess, but I imagine that digital theft will be increasingly policed, and increasingly more ably policed, and the idea of digital theft will be a much more broadly understood crime by the mainstream in the not-too-distant future. It's inevitable. When this gets properly nailed down then you can wave good-bye to dj mixes online too. BPI etc consider these to be just as bad as a straight ripped file. robin...
Re: (313) Morgan Geist interview
the interview is fantastic. i hung out with him last december in his studio and we talked about a lot of this stuff...it helps to know that even while he talks about this stuff he is a hilarious goofball. i agree with 99% of it.. On Fri, Sep 26, 2008 at 6:52 AM, Odeluga, Ken [EMAIL PROTECTED] wrote: Apparently we were only into it for a laugh anyway, so why miss it now? -Original Message- From: Klaas-Jan Jongsma [mailto:[EMAIL PROTECTED] Sent: Friday, September 26, 2008 11:51 AM To: /0 Cc: Martin Dust; robin; 313 Org Subject: Re: (313) Morgan Geist interview Innovative music is a skam anyway On 26 sep 2008, at 12:43, /0 wrote: that can only be a good thing if you like innovative music - Original Message - From: Martin Dust [EMAIL PROTECTED] To: robin [EMAIL PROTECTED] Cc: 313 Org 313@hyperreal.org Sent: Friday, September 26, 2008 6:03 AM Subject: Re: (313) Morgan Geist interview Oh yeah. I agree. Don't get me wrong, the honesty in there is refreshing. The problem, as I see it, for people making a living from music is that it's hard to take that break unless you're very (financially) successful. I guess they are going to have to accept that it's no longer a business and back to a hobby. m
Re: (313) Morgan Geist interview
It's not really the fans' fault. The internet has forced a drastic re-configuration of the music business, that so far has not found any balance, it hasn't really re-configured in a sustainable way yet. MG was right about iPods and the fact that nobody really _listens_ to music anymore. The mp3 formulation flat-out sucks. I don't care what site you uh cite. The artifact and reality of music is ceasing to exist -- like MG says, seeing live music is becoming the only way to have a real music experience now. Technophiles will rant and rave about the freedom and access allowed by ethereal digital objects, but we are losing many of the old ways we marked and appreciated and valued cultural fuel such as music...the digital revolution got ahead of itself. It's not just because we're getting old. I'd go deeper and talk about Western cultural trends and politics and blabla but I'm tired. On Fri, Sep 26, 2008 at 10:26 AM, [EMAIL PROTECTED] wrote: Reason it's not a business is because his fans won't let him make a living at it. You read what he said about people complimenting him on a record that isn't even released yet. That sucks. I've talked to struggling musicians who's so-called fans say straight to their face that they really enjoy their music but that they didn't pay for it - just got it off someone else or from a P2P site. That sucks and that's not any way to be a fan. I'm not surprised that Geist is feeling the way he is. How long could you possibly put up with that bullshyte before losing it? MEK Martin Dust [EMAIL PROTECTED] wrote on 09/26/2008 05:03:50 AM: Oh yeah. I agree. Don't get me wrong, the honesty in there is refreshing. The problem, as I see it, for people making a living from music is that it's hard to take that break unless you're very (financially) successful. I guess they are going to have to accept that it's no longer a business and back to a hobby. m
Re: (313) Morgan Geist interview
This is all true if you are looking at the problem and not the cause. But if you look at the roots of the problem, it is the same issue that has plagued the music business since it's inception. Intellectual property, what it is, and how you market it. That is the music business. Focusing on performance, saying shut up and perform and be a real worker, is an easy way to make irrelevant the last 120 years; I don't see that as a reasonable conclusion, it's purely pragmatic, and a rather outdated approach. It glazes over the intellectual property aspect which is fundamental. For example -- is writing worthless, then? If you can write music but can't perform it, you're just sh*t out of luck in that scenario. Because when music sales fail, when intellectual property can be so easily stolen and appropriated, it subverts other old-fashioned ways of making a living from music such as writing and publishing as well. I appreciate the pragmatic, and that simpler/old-fashioned is better sometimes, but that is not a progressive or entirely relevant position. And blaming the fans/sometimes-customers isn't really a helpful way of figuring out why the market is running into the problems it does. Convenience is impossible to compete with; when something is free, it's ridiculous to expect people to go pay for it anyway. We live in individualistic societies, doing the right thing does not drive markets. I sure wish it did. This is capitalism, and capitalism demands viable products, safeguards that protect that viability, etc (hence we have the RIAA desperately suing people). The internet as we know it may not exist for that much longer. That is the only conclusion I can come to. But I really don't have an answer. If I did I'd be rich and famous.
Re: (313) brief survey
I was listening to a series of dozens of 78's for 30 seconds or so each...Memphis Jug Band, Bill Gaither, and Robert Petway stood out. And Farewell Shreveport, but I forget who did it..crazy boogie woogie piano. The last electronic record I put on was the Galaxy Toobin' LP, a couple weeks ago...dang.. On Thu, Sep 25, 2008 at 4:21 PM, Carlos de Brito [EMAIL PROTECTED] wrote: [EMAIL PROTECTED] wrote: What are you all listening to right at this second? Please include format. (LP, CD, streaming mp3, podcast, etc) matthew dear - body language vol. 7 - CD
Re: (313) Analog Assassin Video
Very nicely done. On Tue, Sep 23, 2008 at 8:00 AM, Martin Dust [EMAIL PROTECTED] wrote: http://www.undergroundresistance.com/main/content/view/68/1/ Nice piece of work from the UR boys... m
Re: (313) placid storms detroit :D
Smoke signals... I know PG as Producer Gut, milk doesn't help that either On Thu, Sep 11, 2008 at 11:53 PM, Kevin Reynolds [EMAIL PROTECTED] wrote: Easy DB, the KR is killing them PG Tips with milk lately...
Re: (313) Too Good
Got it when it came out a couple years ago and thought it was exceptional -- not quite instant classic, but high quality Detroit techno. Not sure how you'd write it off as commonplace when Detroit techno records haven't even been common since about 2003. I guess it's a mildly good sign that it got repressed.
Re: (313) While you were arguing about t-shirts
And is Dan actually back in the US? Last time I sent him something he was in Connecticut (!)...I didn't ask what was up though. Thanks for the news Jwan On Thu, Jul 17, 2008 at 11:01 AM, jwan allen [EMAIL PROTECTED] wrote: As Dan informed us the last time he played in Pittsburgh, his house imprint Elevate has been relaunched. Baaz has two other releases on the Sthlmaudio Recordings. I've liked what I've heard thus far and i'm looking forward to having more material from this imprint. Nice to see another quality label back in the fold. Baaz -Few Days (12) Elevate jw -- Technoir Audio http://www.technoiraudio.com dealing with your imperfect world
Re: (313) RIP CBS.nu
hardcore suckthat place was my spot for a long time...awesome music and cool people on the forum. any recommend's for comparable spots? are there any? On Tue, Jul 8, 2008 at 3:05 AM, Odeluga, Ken [EMAIL PROTECTED] wrote: That's a pain. I was just getting into it, late :( -Original Message- From: southernoutpost [mailto:[EMAIL PROTECTED] Sent: Monday, July 07, 2008 11:32 PM To: Ronny Pries Cc: 313@hyperreal.org Subject: Re: (313) RIP CBS.nu I will miss the crazy ass Bunker acid track that used to drill my brain at work. = Southern Outpost http://www.southernoutpost.com Sydney - San Francisco - Berlin Infiltrating your sound systems = On Jul 7, 2008, at 5:46 PM, Ronny Pries [EMAIL PROTECTED] wrote: Nooo. What a sad year - first othello bit the dust and now CBS. I need my intergalactic italo disco injection on a regular base. Help. http://www.cbs.nu/forum/viewtopic.php?id=23313p=1 sad day.
Re: (313) RIP CBS.nu
but where's the radio... On Tue, Jul 8, 2008 at 9:45 AM, Robert Taylor [EMAIL PROTECTED] wrote: http://disception.net/lk/index.php ;) Rob Taylor VT Librarian x8599 Hatch Desk x1088 VT Library Users' Guide -Original Message- From: JT Stewart [mailto:[EMAIL PROTECTED] Sent: 08 July 2008 14:35 To: Odeluga, Ken Cc: southernoutpost; Ronny Pries; 313@hyperreal.org Subject: Re: (313) RIP CBS.nu hardcore suckthat place was my spot for a long time...awesome music and cool people on the forum. any recommend's for comparable spots? are there any? On Tue, Jul 8, 2008 at 3:05 AM, Odeluga, Ken [EMAIL PROTECTED] wrote: That's a pain. I was just getting into it, late :( -Original Message- From: southernoutpost [mailto:[EMAIL PROTECTED] Sent: Monday, July 07, 2008 11:32 PM To: Ronny Pries Cc: 313@hyperreal.org Subject: Re: (313) RIP CBS.nu I will miss the crazy ass Bunker acid track that used to drill my brain at work. = Southern Outpost http://www.southernoutpost.com Sydney - San Francisco - Berlin Infiltrating your sound systems = On Jul 7, 2008, at 5:46 PM, Ronny Pries [EMAIL PROTECTED] wrote: Nooo. What a sad year - first othello bit the dust and now CBS. I need my intergalactic italo disco injection on a regular base. Help. http://www.cbs.nu/forum/viewtopic.php?id=23313p=1 sad day. # Note: Any views or opinions are solely those of the author and do not necessarily represent those of Channel Four Television Corporation unless specifically stated. This email and any files transmitted are confidential and intended solely for the use of the individual or entity to which they are addressed. If you have received this email in error, please notify [EMAIL PROTECTED] Thank You. Channel Four Television Corporation, created by statute under English law, is at 124 Horseferry Road, London, SW1P 2TX . 4 Ventures Limited (Company No. 04106849), incorporated in England and Wales has its registered office at 124 Horseferry Road, London SW1P 2TX. VAT no: GB 626475817 #
Re: (313) rick wade - the good, the bad, and the deep
I like all the bits about the crashes...ha! His first album was pretty bad too...aside from a single great track, the rest was very bland and forgettable...I never really got the excitement over his sample-loop harmonie park stuff tho either...it was decent..I can't remember how much I liked his elevate thing... On Sun, Jun 29, 2008 at 2:34 AM, [EMAIL PROTECTED] [EMAIL PROTECTED] wrote: Youch- Rick takes a few to the chin in your review Frank! I didn't think the album was as bad as your review made out but you do give quite a convincing argument in places - I'll have to go back and check it out again in more depth. Jason 2008/6/29 Frank Glazer [EMAIL PROTECTED]: FYI, I made a lengthy post with a review of Rick Wade's latest Yore album on my blog today: http://www.deejaycountzero.com/blog I contrasted it with Ian Pooley's latest offering In Other Words. -- peace, frank dj mix archive: http://www.deejaycountzero.com
Re: (313) kms history elevate rumour
they shoulda enlisted shake...that is exactly his remix style but he does it right (raw and energetic)... On Sun, Jun 29, 2008 at 2:39 AM, [EMAIL PROTECTED] [EMAIL PROTECTED] wrote: Not sure, but John Selway is playing here in Glasgow in a couple of weeks so I'll ask him then - these remixes all seem to be done without any access to the individual parts that make up the tracks, ie Kevin has just given the remixers a stereo mix to work with - there is a limited amount you can do in a situation like this (changes in structure, looping small elements of the track for ages, filtering it up and down, adding spacey effects etc) but certainly none of the mixes have added anything to the raw energy of the original tracks. Jason 2008/6/28 Frank Glazer [EMAIL PROTECTED]: admittedly, the history elevate series has been spotty. i did genuinely like the mathew jonson version of good life. rumour has it that #5 is going to include a smith and selway remix of rock to the beat. can anybody confirm/deny? -- peace, frank dj mix archive: http://www.deejaycountzero.com
Re: (313) Saturday night in NYC
Yall prolly no but kdj + rick + theo play on Sunday too at The Yard in BK = Still Music party On Sat, Jun 28, 2008 at 12:00 AM, Michael Kuszynski [EMAIL PROTECTED] wrote: Totally doing Moodymann, and hope to get to the party later. Great weekend. On Fri, Jun 27, 2008 at 11:21 PM, M Ng [EMAIL PROTECTED] wrote: Moodymann playing at water taxi beach too $5 Moodyman plays June 28th at 11pm. • To enter the Beach you need to be 21 or older with proper ID (US/Canadian Drivers, ANY Passport or US Military ID). 2 events on in one night, a rarity!! On Sat, Jun 28, 2008 at 7:23 AM, atomly [EMAIL PROTECTED] wrote: Come to this party, it's going to be rad. Being on a boat without a captain is kind of like being Li'l Wayne on a plane without a pilot. ... fowarded message ... RESOLUTE pres: DEREK PLASLAIKO'S (Bunker/Spectral) BDAY BASH SATURDAY 28TH JUNE Come and celebrate our good friend Derek Plaslaiko's birthday this weekend. A clue that I can give you is that this party is aboard a boat that has no captain and will be under the stars. The location will be provided on the night before the event at a secret location by the Resolute team you must rsvp to: [EMAIL PROTECTED] The lineup for the night will be Derek Plaslaiko (Bunker/Spectral) , Spinoza (Bunker) , Atomly (Wolf+Lamb) , Taimur+Fahad (Blk|market Membership) , Adultnapper (Ransome Note) , Elon (Resolute) + Connie (Resolute) ... end forwarded message ... -- :: atomly :: [ [EMAIL PROTECTED] : www.atomly.com ... [ atomiq records : new york city : +1.917.442.9450 ... [ e-mail [EMAIL PROTECTED] for atomly info and updates ... -- --- Michael Kuszynski [EMAIL PROTECTED] [EMAIL PROTECTED] http://www.planerecordings.com New York, NY
(313) Convextion album now available on CD
Pardon my sales-pitch! Now available on Compact Disc Convextion - S/T (dLVEXTCD) Tracklist: 1 Equanimity 2 Solum Ferrum (extended version) 3 Sulphur Vent 4 Astrum 5 Premiata 6 Interlude I 7 Desolate Hub 8 Interlude II 9 Venea 10 JMA020603 Will be available at Dope Jams in a week or so, and at Rush Hour in a couple weeks You can also order direct from us -- $13 shipped in the USA, or $16 shipped to anywhere else in the world Write me privately if you wanna grab one Thanks yall JT @ dL
Re: (313) Florence Wladimir M. remastered
eevo rules, so does stefan. @k-j, any hint of whether there will be other represses...i'm especially after the ross 154 one, and the max 404 ones i wrote max 404 off at the time cus i didn't go for his spoken word stuff...but his instrumental stuff is some of the deepest techno ever...you could do a great eevo mix using his stuff alone... summer is a funny time for eevo tho...it's so dark and sensitive, i consider it fall/winter music
Re: (313) Electro Recommends?
since it didn't get a mention in that topic on little detroit: http://www.discogs.com/release/1138359 otherwise, e.r.p., dynarec (now on puzzlebox), gosup, plant43, arpanet/der zyklus...and that's about all i can think of that i really got into in the past year or so
Re: (313) Electro Recommends?
oh yeah, and point.one stuff, especially for bumper and anything by dj overdose (pauli from bumper + overdose = the novamen from viewlexx/murdercapital) On Thu, May 22, 2008 at 7:29 PM, JT Stewart [EMAIL PROTECTED] wrote: since it didn't get a mention in that topic on little detroit: http://www.discogs.com/release/1138359 otherwise, e.r.p., dynarec (now on puzzlebox), gosup, plant43, arpanet/der zyklus...and that's about all i can think of that i really got into in the past year or so
Re: (313) Popsike.com question
I don't know, but it's not very accurate that's for sure. I've sold thousands of records on eBay and I haven't seen any of them on there.. On Thu, May 8, 2008 at 7:13 PM, [EMAIL PROTECTED] wrote: Anyone know how or when auctions get added to this site? is it member submissions? MEK Dan Bean [EMAIL PROTECTED] wrote on 05/08/2008 02:49:59 PM: popsike.com -Original Message- From: [EMAIL PROTECTED] Sent: 08 May 2008 20:40 To: 313@hyperreal.org Subject: (313) record auction price history what's that website where you can see the latest going rate of record auctions? MEK
Re: Re: Re: (313) 4 more Movement acts
did my message not come thru? it was about movement. and i agree with /0, pretty much, minus the enthusiasm On Tue, Apr 22, 2008 at 5:55 AM, Odeluga, Ken [EMAIL PROTECTED] wrote: There is nothing about Movement in this thread. -Original Message- From: Williams, Graham [mailto:[EMAIL PROTECTED] Sent: Tuesday, April 22, 2008 9:42 AM To: /0; 313@hyperreal.org Subject: RE: Re: Re: (313) 4 more Movement acts Hey Reds1ht It would be more interesting if you stopped being so aggressive and argumentative to various individuals on this list. Do many on this list even value your contribution/trolling to the various discussions? G -Original Message- From: /0 [mailto:[EMAIL PROTECTED] Sent: 22 April 2008 01:52 To: Fred Heutte; 313@hyperreal.org Subject: Re: Re: Re: (313) 4 more Movement acts It would be at least borderline interesting if you would respond to what I actually wrote. -Fred Heutte - Original Message - From: Fred Heutte [EMAIL PROTECTED] To: 313@hyperreal.org Sent: Monday, April 21, 2008 9:49 PM Subject: Fw: Re: Re: (313) 4 more Movement acts well then the prevalent view here is wrong So it always seems coming from you. fh -- mail forwarded, original message follows -- To: [EMAIL PROTECTED],313@hyperreal.org From: [EMAIL PROTECTED] /0 Subject: Re: Re: (313) 4 more Movement acts Date: Mon, 21 Apr 2008 20:22:42 -0400 well then the prevalent view here is wrong. the festival works best when it books diverse acts to pays its bills and perpetuate its own existence. big deal, so you wont like every act, but without the other 75 percent, the 25 percent you want wouldnt have a festival to play at. and for every 313 member that wants that 25 percent, there is someone out there looking for the dnb stuff they are booking, or this or that. just because YOU dont dig it, doesn't mean its invalid and has no place at the festival. again, it is detroit's electronic music festival. not the detroit electronic music festival. furthermore, it's pretty obvious that its not a festival dedicated to detroit music. even the first blessed years were not as detroit-centric as it could have been. and thank god for that. - Original Message - From: Fred Heutte [EMAIL PROTECTED] To: 313@hyperreal.org Sent: Monday, April 21, 2008 8:33 PM Subject: Fw: Re: (313) 4 more Movement acts It would be at least borderline interesting if you would respond to what I actually wrote. Maybe somewhere else someone is demanding that Movement 2008: Detroit's Electronic Music Festival be only about Detroit techmo. But not here. The prevalent view on 313@hyperreal.org has always been that the festival works best when it represents -all- of Detroit's electronic music diversity, not just techno. fh -- mail forwarded, original message follows -- To: 313@hyperreal.org From: [EMAIL PROTECTED] /0 Subject: Re: (313) 4 more Movement acts Date: Mon, 21 Apr 2008 18:57:31 -0400 as has been said, its not a detroit techno festival, its detroits electronic music festival. and Im glad. a yearly festival dedicated to any sub-genre would get boring and increasingly hard to market. detroit has more people on the lineup than any one other city by FAR, so you, being a fan of detroit techno, should be happy with that. this list needs to snap out of this demf-is-a-celebration-of-detroit-techno mindset, because it just leads to cyclical wastes of time in the form of all this whining about lineups
Re: Re: Re: (313) 4 more Movement acts
why not just call it Big Rave X if that is all it is going to be? because that's not all it is, it's not all or nothing. you're argument loses quite a bit of validity if you make sweeping generalizations to glaze over any details that contradict your opinion. it's hardly a super-hyped rave. super hyped raves anymore in 2008. why not just do it on another weekend, call it something else, make your money and let someone else do something that is more in line with the original festival's ideal on memorial day weekend, even if it is scaled back a ton? that's crazy talk. why doesn't somebody else just step up and lose their ass to throw a festival celebrating american electronic music, which has a tiny niche. like i said in my previous message, american electronic music ain't what it used to be. you have to have infrastructure before you can have an audience and these days american electronic music has neither. the american electronic music scene is WEAK, and has been for years, it is just not realistic to expect some idealized super dope festival...the sponsors won't go for it. paxahau knows what it's doing. it could be better, it's certainly fair to criticize it, but it's hardly so bad that it deserves the over-the-top insults you're throwing at it. i'm frustrated with state of things in the USA too. Paxahau can't fix that. Regarding another festival...why does it have to be at Hart Plaza memorial day weekend? That's a huge space that involves a crapload of logistical obstacles (traffic, security, electricity/sound/gear for outdoors etc etc etc), and it's not the best timing either (summer vacations haven't yet started for most). I'd love to see a big party/festival without any BS, I'm sure it could be done. Somebody find a space outside city limits where noise and fire ordinances don't apply, budget the performers carefully, have it running concurrent to the festival, that would be great. I am not cut out for big crowds and overpriced beer anyways.
Re: Re: Re: (313) 4 more Movement acts
Moby, The Cool Kids, Dieselboy, Benny Benassi, Deadmau5, Girl Talk, James Zabiela. if that isnt the definition of a pedestrian rave, i dont know what is. it isn't and you don't. i was a raver. i went to something like 65 raves between 1993-1994. there are many festivals all over the country that really are outdoor raves. the detroit festival has certainly headed a bit in that direction. it's an insult to the great artists who still perform in abundance at the festival (hi shake) to say it's just another one of those festivals. it isn't, yet, and while I balked at Paxahau when they took over the festival, I don't think they will ever take Detroit's legacy and Detroit music out of the equation you list 7 names out of a roster of something like 100, with how many different stages now? 4? 5? you over generalize on one hand or pick and choose in order to make your argument, that doesn't fly with me. I heard from people whose taste i respect as highly as yours that last year's festival was one of the best since the first two. they acknowledged that there were a bunch of BS performers there but said they were mostly confined to one stage. they said they bounced from one great performance by a Detroit great to another, rattling off a long and impressive list -- the only two names that I can remember right now are Shake and Three Chairs, because I slept like sh%t last night, but they convinced me that rumors of the demise of the festival's greatness have been greatly exaggerated. then just dont do it at all. its better than being disingenuous at best, a profiteer at worst. Gimme a break. I understand yours and MEK's stance that somehow they are being disingenuous by using the DEMF name. Are there any other electronic festivals in Detroit? Then it is going to be widely known as the Detroit Electronic Music Festival whether they officially call it that or not. I think reading insidious designs into that are ridiculous. Who cares. i dont want that, like i said, i would be more happy for a much smaller scaled back free thing that actually represented detroit than some rave. Detroit is represented. American techno and house is represented. BS global DJ stars are represented too, unfortunately, but that's the state of things. Don't go to that tent. It does suck that you have to lower your expectations a bit. If you want to support good Detroit/American electronic music producers without dropping twice as much $$ to exit the country, this is your chance. Don't punish Shake because Dieselboy plays music for toolbags. i'm so glad that corporations dictate what music matters in detroit. sorry, but f*ck that nonsense. What music matters in Detroit? I don't understand that wording. They have control over what music gets exposure at the festival. They can't make people like it or make it resonate with Detroit. Otherwise, welcome to the world. Big events need big sponsors. That's been an element that hasn't increased at the festival, it's greatly diminished. The sponsorship was much more over the top in the first few years. Now it is hard enough to rustle up enough small sponsors to take a chance even with the addition of vetted mainstream BS. That's the state of electronic music in the USA right now. instead of being the solution they are part of the problem. that is going to solve a lot. Where else are you going to see all those Detroit artists (and some good stuff from Europe too, I'm sure) perform in the USA? The festival doesn't bring any money or attention to the city, really? Really? C'mon. i would be perfectly fine for things to happen somewhere else, and i would prefer outdoors as well as it is just more fun that way. but it has to be in the city. the rave can go to the suburbs, thats where all the attendees are coming from anyway. Well now you're talking politics not music. I am with you on a lot of the politics, probably, mostly. But there are also larger issues at hand to consider. Electronic music is in such dire shape in the USA that providing a platform for American electronic musicians is my primary concern.
Re: (313) Online ecord stores
Dope Jams gets all the Delsin stuff, but only a few copies...but it's worth checking before dropping more $$ for int'l shipping... Dancerecords.com has a quince ep and the yotoko album on sale right now...i don't think they've been getting any more Delsin stuff since Syntax went down tho On Sun, Apr 20, 2008 at 7:44 PM, dan lucas [EMAIL PROTECTED] wrote: Any recommendations for Delsin vinyl?
Re: Re: (313) 4 more Movement acts
well then the prevalent view here is wrong. the festival works best when it books diverse acts to pays its bills and perpetuate its own existence. big There is no evidence to support the assumption that booking more artists outside of the Detroit tradition improves the success of the festival. There is in fact evidence that the festivals that were about Detroit's electronic music legacy had much larger attendance -- there is no way to know how many of those people would have attended had it not been free, but it's fairly safe to assume that the first few festivals would have been the greatest successes had an entry fee been charged and had the festivals been competently managed. The sponsorship was there (selling the festival as Detroit Techno all over TV, to boot), mainstream media was there, the initial excitement was there, the widespread local appeal was there. The only thing borne out as a more successful approach in the past few years is the charging of an entry fee and a much more competent management of the festival in general. You aren't going to convince anybody jumping to conclusions that aren't borne out. You can only claim Paxahau's festival would be less successful as a Detroit-centric festival if they throw one and it is decisively less successful. You may well be right (I think you are) considering the trends in electronic music these days, but they haven't had that festival to prove it, yet. member that wants that 25 percent, there is someone out there looking for the dnb stuff they are booking, or this or that. just because YOU dont dig it, doesn't mean its invalid and has no place at the festival. That's certainly true enough, but helllooo McFly, why the hell are you on the Detroit Techno mailing list if you don't think Detroit's legacy is more important, ultimately more culturally relevant, than global superstar dj's or the newest hype for the majority of people attending. There has to be a balance between commerce and art/culture, but considering it's Detroit, and the only electronic music festival in Detroit, I think it's reasonable to expect there will be an undercurrent to the festival that celebrates Detroit's legacy. I don't think Paxahau has failed to address that, but as Detroit Techno devotees we want more, we want Paxahau to have the balls to risk it's ass to throw another Detroit-centric festival, now that they have put in place proper management. It is a bit unreasonable. Paxahau's business smarts that dictates the festival goes increasingly in a different direction -- the cultural relevance has been minim(al)ized, because I'm afraid electronic music, especially American electronic music, has suffered tremendously in the last 7 years. It would be crazy to throw a festival like the first few festivals again given that no one (comparatively) in America is buying Techno, and maybe more importantly look at the output of Detroit (and America in general). Paxahau is smart and they have probably judged the market correctly. You gotta get the kids there. There ain't many heads among the kids these days. The heads have jobs, kids, old fogie legs that don't dance so good no more...The kids ain't got no responsibilities and are much more carefree about burning through their dough. The majority just wanna party. Perhaps they would be open to learning about why Detroit's legacy is so important and unique to electronic music. But there is no real exciting reason why they would care to learn. The infrastructure to put Detroit/American electronic music culture in the public eye and make it compelling just isn't there. /0 may be obnoxious (ain't we all sometimes), but I'm afraid he's right. That said I'm attending if it's within my budget (plane tickets and gas = megabux right now) and a lot of friends of mine who have never gone before -- heads even -- want to go this year. It's the best we have and it's not going to improve if it's not nurtured. I believe things will come back around, and besides it's the best opportunity we Americans have to see so many artists we like in one place, without using a passport. And if the festival ain't up to snuff for you, you can shift your attention to soaking up the city and hanging out with seldom-seen friends...It depends on your budget etc whether it's worth it or not -- if budget isn't a primary consideration, absolutely it is... I miss Detroit a lot...
Re: (313) Online ecord stores
aw shucks that's a shame about Emporium 50...I only managed to order from them twice but the service was perfect and they carried Detroit stuff no one else did, that I could find anyways... I shop TTL at Xmas time for the nonsense products (vids mostly)...some of my friends are into the style of re-issues, disco and hipsterhop they carry (sometimes i am too)...most of my friends in nyc write off TTL...I'm surprised so many have had problems with them but warning taken... @kowalski a ok, brazilthere isn't good selection there? I was under the impression most distribs were covering S America, but i guess a lot of stuff doesn't make it down there? these days i try dancerecords.com first -- even if things i want are out of stock, if there's any chance they're still in print i'll click the re-order button and wait and see -- their re-order system is fantastic. then i go dopejams for the more esoteric. then i go rush hour for the 80% of my wantlist that doesn't get any american distribution blargh On Sat, Apr 19, 2008 at 4:08 PM, Frank Glazer [EMAIL PROTECTED] wrote: i should mention that turntable lab often has a lot of obscure represses and hipster disco, and of course they have almost all dfa releases. i don't shop there much because i'm annoyed that their new releases rss feed doesn't distinguish between records and the hundreds of other nonsense products they carry (clothing and accessories, needless tech gizmos, every time they get a restock on gruvglide they add it to their rss feed, it's really dumb) On Sat, Apr 19, 2008 at 3:09 PM, JT Stewart [EMAIL PROTECTED] wrote: as much as you can find at dancerecords.com (lightning fast shipping which is often free for orders over 50$, ridiculously huge stock..), then more boutique type shops like dopejams, emporium50, submerge etc to fill in the gaps i second Tom's question though, why the heck would you order records from a u.s. store when you live in europe? american labels send the majority of their stock there anyway, there's probably next to nothing you can get here that you can't get there FE gets a low rating from me, they've sent me the wrong records even when what i ordered was in stock, and not much of what i order is ever in stock. kudos to them for providing some much needed distribution services, but the store is meh On Sat, Apr 19, 2008 at 7:41 AM, theREALmxyzptlk [EMAIL PROTECTED] wrote: FE is fine if what you want is in stock. Speaking as someone who'd like to keep on *current* things domestic and abroad musically, it's not so hot. It won't do to wait on them to get in much of anything that's limited, and it's a crap shoot waiting to see if they'll get the records in which create a buzz here. Usually it's a losing bet. On the other hand, they'll often roll out a huge back-catalogue of a label which wasn't that hot last year. It depends on what you want. They are efficient and fast if you specify you want backorders skipped and shipping asap, but as far as keeping *consistently* current on things (save mostly the 'trendy' ends of techno, the Soul Jazz catalogue, and the odd gem here and there) - and especially as Tom mentioned, the Detroity stuff - you're better off elsewhere. I use a mail order service (PBE) which is run out of NY. No online site with interactive samples, etc, but excellent and faster service with a more varied stock (including imports). jeff forced exposure. great experience every time. email them to make sure what you want is available, especially if it is slighty more uncommon. -- peace, frank dj mix archive: http://www.deejaycountzero.com
Re: (313) Online ecord stores
as much as you can find at dancerecords.com (lightning fast shipping which is often free for orders over 50$, ridiculously huge stock..), then more boutique type shops like dopejams, emporium50, submerge etc to fill in the gaps i second Tom's question though, why the heck would you order records from a u.s. store when you live in europe? american labels send the majority of their stock there anyway, there's probably next to nothing you can get here that you can't get there FE gets a low rating from me, they've sent me the wrong records even when what i ordered was in stock, and not much of what i order is ever in stock. kudos to them for providing some much needed distribution services, but the store is meh On Sat, Apr 19, 2008 at 7:41 AM, theREALmxyzptlk [EMAIL PROTECTED] wrote: FE is fine if what you want is in stock. Speaking as someone who'd like to keep on *current* things domestic and abroad musically, it's not so hot. It won't do to wait on them to get in much of anything that's limited, and it's a crap shoot waiting to see if they'll get the records in which create a buzz here. Usually it's a losing bet. On the other hand, they'll often roll out a huge back-catalogue of a label which wasn't that hot last year. It depends on what you want. They are efficient and fast if you specify you want backorders skipped and shipping asap, but as far as keeping *consistently* current on things (save mostly the 'trendy' ends of techno, the Soul Jazz catalogue, and the odd gem here and there) - and especially as Tom mentioned, the Detroity stuff - you're better off elsewhere. I use a mail order service (PBE) which is run out of NY. No online site with interactive samples, etc, but excellent and faster service with a more varied stock (including imports). jeff forced exposure. great experience every time. email them to make sure what you want is available, especially if it is slighty more uncommon.
Re: (313) Strand remix of Radiohead's Nude.
I love the pads especially, but generally it's got feeling and warmth and interesting arrangement...and Thom's falsetto..nice! I voted furrit But dang, mix #1510 !? shitburger
Re: (313) demf 2008
No I completely disagree with you Greg. sorta kinda Detroit, to me, is not a festival. Uh wha? But we're talking about the festival. No one has said that Greektown, or the afterparties, or showing up at so'n'so's (insert techno namedrop) house is not great. That stuff is all great. Traveling is great. These are the attractions of traveling. There are many great cities in the world full of brilliant artists and great atractions and Detroit is one of them. Yeah. Let's see you get that kind of experience at insert some generic Euro festival here It won't be the same experience. It could be equally great. I appreciate Detroit very much, it's a great and unique place. But it is besides the point if we're talking about the musical quality of the festival. Obviously it is great to see friends and enjoy the sights, although I am not so sure I enjoy the atmosphere of the festival the best for this, or having to shell out hundreds of dollars in hotels etc to do so. Waxing romantic about how it's the city that counts and it doesn't matter if the festival goes to crap is not really a very reasonable argument IMO. That said, I got the most detailed and helpful description of last year's festival from ex-313er Jamaul Redmond over the weekend. He said it was still amazing, that there was a great performance on one stage or another at all times, and described performances I hadn't even heard about (Shake with 3 Chairs?? 6 hrs of Rhythm Sound with one of the guys from Wackies?!). He said there was no shortage of great music, and from what he said, I believe it! He also added that all the minimal and inane club music was mostly concentrated in the Beatport tent. That doesn't sound so bad at all if it was that easily avoided. Jamaul played a mindblowingly great set in Charlotte, NC on Saturday night. His stuff is very much in the vein of the best Rob Hood stuff, like the first dozen M-plants, really excellent, and his focus while performing is really impressive...Highly recommend any body who enjoys that original M-plant sound to check him out if you get the chance...He opened for Rob Hood before and gave him a run for his money...
Re: (313) demf 2008
better but I don't know if you all realise how negative you all sound, as if it was better if it wasn't happening at all. Yeah, but you know we don't actually feel that way right, because every message (except maybe Tmo's) has sad something like I'll be there anyway, or what I have said, ..I'm glad they are managing the festival competently, unlike previous incarnations, so that it can continue and perhaps find it's own identity and mojo again. To take the rose-colored glasses off, for me, the last year was so unappealing that I didn't much consider going, so yes, I hope it improves because if that continues I really will be indifferent about whether it happens anymore or not. They can't please everybody all the time and I may be a casualty. For the $500+ the trip costs me, I could go somewhere else, Europe even, and have a better time. Detroit will survive, the music will survive. We'll see...I have high hopes for this year. I have a feeling they'll ask Convextion to play at least, and I'd go even if just to support him..but we'll see..
Re: (313) demf 2008
Excellent points Francis, about the commercial side. Their approach is not geared towards music lovers, and it's a shame in the eyes of people like us. I think they're already putting on all the music they like though and wouldn't consider what they're doing as making concessions. The change in the musical nature of the event was intentional and favorable in their eyes. JT
