Re: [313] Detroit records
Though it's not from Detroit, I found some copies of the early Jesse Saunders 12 at a used record store in Flint, MI. When I saw the original pressing of On and On, I thought hmmm, I think I've heard of this record. I also picked up a white label of his second record. The songs are pretty lame, but they supposedly were the first house records ever. If anyone wants to school me on these records, I'm all ears. All I know about them is what I read in Saunders' book. Jason Birchmeier On Wed, 21 Jun 2000, Roger John Lesinski Jr wrote: In an attempt to break up child games and all the fighting that has been going on in the list, I have a question to all. What is the Rarest record that you own and most favorite Detroit related record that you own? I know a lot of people get early release white labels, but I am talking about those that might have never been released, dubplates, etc.. -- - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Pole 3
What does everyone think about the new Pole album? It came out yesterday in the U.S. I find it much more abstract, epic and minimal than the first two albums. The dub characteristics seem to be much more salient while the rhythms tend to sound too fractured for my taste. The guy's brilliant though. The texture of this album stands above anything I've heard in some time. Any other thoughts?
Thomas Heckmann: Welt in Scherben
Just started listening to the above listed CD and am loving it. Very driving techno with hard percussion and swirling synths that pull you in. I'm frustrated though. I know nothing about this guy and found that Force Inc's artist link is not working. Can anyone share a bit about this guy? One of the descriptions listed his style of music as Sagezahn. That is a new term for me. Anyone wish to share their knowledge? thanks Jason Birchmeier
Re: [313] Sound Signature
Can anyone supply me with contact info for Sound Signature? I keep trying to e-mail them at the e-mail address listed on the Summertime Is Here EP but haven't gotten a response. Seems kind of silly to me that they don't make their CDs more available. There certainly seems to be adequate demand. Thanks Jason Birchmeier
Hipnotech: hip-hop from Submerge
At the DEMF record tent, I spoke with someone from the UR camp about four records he had laid out on the table. He explained to me that the records were new and blended techno with hip-hop. I actually have a flyer from that table. The label is called Hipnotech. Seems very strange to me. I can give more info if anyone is interested. They even have a radio show set up. I'm wondering if anyone else out there knows anything about this. Thanks Jason Birchmeier
RE: (313) Online petition at http://www.petitiononline.com/plur/p etition.html
On Tue, 9 May 2000, Benjamin Cuthbert (Merch) wrote:
I could not agree with you more, but in my opinion, news reports like these,
even though it was very sensational, can help to clean up this scene.
{snip}
So, what I want to know is why promoters do not set age limits on their
parties. Will it affect the bottom-line that much?
I'm with my man Ben here. If I had a 15 year old daughter, I wouldn't
want her going to any of the underground raves in Detroit. Getting
exposed to music and culture is great, but getting exposed to nitrous, K,
dirty E, GHB and other sketchy behavior isn't that good for a young
female teen.
Look at Richie Hawtin's recent parties such as Epok. People are still
tripping and rolling, but at least it isn't being done in public, there is
an age limit and he runs things responsibly. He's learned his lessons.
I would have no problem sending my kid to a party if I knew things were
legit. And at most Detroit parties, it's come to the point where the
police are even getting paid off.
Shit, I went to this afterhours club called Jesters two weekends ago,
where policemen in uniform were doing balloons and partying with
strippers! No lie.
The golden era of rave has ODed. Time to bury it and start over.
PS - I also want to know why more people do not support the Detroit's club
scene more. While everyone was getting busted on Saturday, they missed an
excellent bust-free night at Science.
And Ben's totally on point here also. Sure, there may not be free drugs
being offered at Science, but the club offers the same salient attributes
such as DJs and lights.
And Science even offer things most raves don't such as bathrooms, clean
seating, security, a reasonable admission price, good DJs, safety, water
and the reassuring knowledge that the police aren't going to shut the club
down and beat people in the process.
It just seems logical to me.
Pay $30 to party at the Theater on Harper and Van Dyke or pay $10 to party
at Science. It seems like an easy choice to me.
Also, Shane from Plurkids is a friend of mine, and this is by no means a
dis on him. I just think people are tripping on these rave/news stories
for the wrong reasons.
-Original Message-
From: Shane from PLURkids [mailto:[EMAIL PROTECTED]
Sent: Tuesday, May 09, 2000 10:49 AM
To: 313@hyperreal.org
Subject: (313) Online petition at
http://www.petitiononline.com/plur/petition.html
Hi all,
This last weekend in Detroit it was like 1515 Broadway all over again.
Mid-week there had been another one of those look where your children are
at on saturday night! reports on the news. Of course, it was just like
years ago - a promoter had called the news complaining of how they wanted to
clean up the scene. Then they rented a space that they thought was
bust-proof, and proceeded to throw a party with tight security and 500 free
tickets. It backfired in their face and of course the cops arrived with the
news in tow. Multiple kids were beaten on site by the Highland Park Police,
and the newspeople witnessed this but did not report it.
*sigh*
Either way, we want to at least have a chance to speak about the things that
make rave culture special to us. The news reports are always
sensationalistic and driven by ratings - this we grudgingly accept as the
way it is - but it would be nice to be heard at all, even within that
context. Please help us find a voice amongst all the yelling.
Thanks,
Shane
PLURkids Productions
Info 734.913.9672
www.plurkids.com
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M_nus 2 3
Trainspotters: This is kind of random, but I'm confused about M_nus 2 and 3. Artifakts was one of the two releases. I'm also guessing that the Hypokondriak EP was possibly the other. But then there are the Concept CDs Is this the right catalog for M_nus? (need to confirm some info fr my web site) M_nus 1 Consumed M_nus 2 Hypokondriak M_nus 3 Artifakts M_nus 4 Decks... M_nus 5 Epok thanks Jason Birchmeier
techno web sites
I'm putting a links page on my web site that lists various web sites dedicated to techno music. If any of you out there in 313 land have web sites or would like to recommend any, please let me know. I can't promise that I'll use links to everyone's site, but I'll surely consider it. Thanks, Jason Birchmeier
Richie Hawtin: PKamb: Minus
I was just checking out the Temple Records website (a great little shop in NYC that no one ever seems to mention). They have this listing: Richie Hawtin-PKamb [Minus] $6.98 evoloving minimal acid pulse number. I only got 5 of these so get em now This is new to me. I was just out at Record Time this past weekend and saw no trace of this nor have I heard anything about it. Anyone know the story? Usually anything Mr. Hawtin does is worth picking up so I'm curious and wondering if this is a limited deal or what.
Axis 009...what's the story?
After getting a bit enlighted by the responses to my Red Planet question, I'm going to try and resolve some more naivete... Here's the situation: I'm a bit confused. It seems that there are two different versions of Axis 009. The songs are untitled and the record itself doesn't even identify itself except for the etching on the label. This seems really illogical to me and a bit confusing. Is there some story behind this record, or is it just one of those unexplained strange occurances? Thanks Jason
Re: (313) departures in time
It's an amazing album you should listen to. I'm not as impressed by it as many, but I still think it's special. Great rhythms with a shimmering tone of tranquil beauty. I'm happy to see Transmat supporting non-Detroit artists like Aril and Microworld. And if you get the chance, pick up the vinyl formats of these releases. I never realized Microworld's Signals was such an amazing song until I heard the complete 12 minute version. On Tue, 15 Feb 2000, Lester Kenyatta Spence wrote: am checking out the transmat website as i try to stay awake and writehow old is this DEPARTURES IN TIME cd they're advertising? anyone checked it out? listening to a loop of it reminds me of some old school detroit shit. --- Lester Kenyatta Spence [EMAIL PROTECTED] Ph.D. Candidate in American Politics University of Michigan Strive for excellence in all you do, that no fault may be found in your character ---
(313) Richie Hawtin in London, Ontario
On Sunday night I was lucky enough to see Richie spin at Lush in London, Ontario with a capacity crowd of 360 people. He came out around 12:30 and spun the hardest, fastest and most extreme set of techno I've ever felt in my life. I don't think I ever saw him look up at the crowd. Until 5 in the morning, he focused on the music, dropping one record after another, turning knobs, cross fading, toying with his 909 and continually finding some way to bring lifeless banging techno tracks to life. Beginning with the first record, Richie punished the crowd with his intensity. After about an hour, I felt very very spent. Not only was my body sore from dancing so hard, but my body was beginning to ache from the punishing nature of the music. The basslines shook by bones as the pounding rattled my brain. I happen to have a sick taste for the Jeff Mills school of techno: minimal, banging tracks with subtle modulation and transformations. But even my tolerance couldn't handle Richie's set. Everything felt pitched up to +8. Just when a track was beginning to get monotonous after about 30 seconds or so, he would tweak the bassline or mute the highs. The sound was continually in a state of flux despite its stagnant nature. In the end, I had gone through many phases of dancing and exhaustion during his 5 hour set. Just when my legs begged me to sit down, he would drop a track that would just rock my world and make me start dancing again. If any of you get a chance to go see him in Toronto this upcoming weekend, I would recommend it. There isn't any other DJ -- not even Jeff Mills -- than can match Richie's technical skills. He takes bland, lifeless, banging techno records and brings them to life. It's almost as though his use of the EQ and 909 shapes the tracks more than the original producer. Given the hard/harder/hardest nature of his set, it was nice to see just as many girls getting off as guys. Perhaps this may be attributed to the close proximity of Toronto. In any event, there was a strange sado-masachistic vibe going on. Richie loved exhausting the crowd with his sheer intensity while the crowd kept dancing for hours, soaking up every moment of pounding techno until we all had to collapse at 5. After his reprise of Cybersonik's Machine Gun -- a track I could never stand -- John Acquaviva took over. You had to feel bad for him. Not only had Richie just laid down a set that could never be matched, but he also had completely exhausted the crowd. Acquaviva started things off with Kenny Dixon Jr.'s Shades of J. We stayed for this beautiful track but soon left. I had experienced enough techno for one night. Again, go see him in Toronto if you get the chance. And then go see Jeff Mills in March when he comes to Toronto. They may spin crazy techno, but you they will change the way you percieve the art of DJing. After watching Richie for 5 hours, I look at DJing in a different light. Many DJs let the records speak. Ritchie made his records talk. Jason Birchmeier
Re: (313) Re: Plus 8 v UR
Didn't really want to get too into this in my article, but I think this is a pretty interesting topic after reading the interview with Eddie Fowlkes on the current issue of Dissonance. Since I'm a youngster and wasn't around at the time, I'm not going to put all my faith in Eddie's short digression on how Richie was too scared to come to Detroit because Mr. Banks was going to kick his ass. Yet, if Eddie's saying this in an interview, there must be some factual basis behind this allusion. Why would he bring up such a topic if it is merely a myth? I wasn't about to ask Acquaviva about it, and Mr. Sicko never really went too deep into this touchy topic in his book. I totally understand that everything has since been resolved and is now super cool -- as I made sure to mention in my article -- but it is a rather intreging thought to ponder... On Tue, 8 Feb 2000 [EMAIL PROTECTED] wrote: Just wondering if anyone had any info on accessing 313 archives or other info sources regarding this issue which happened a few years ago. I'm just interested in this again after reading the J.Acquaviva interview. I remember reading Mike Bank's view on this sometime ago and just want another refresher. George? Thanks, A_Zed ~~ Program Co-ordinator, Ambient Zone RTRFM 92.1 [http://rtrfm.ii.net] Sunday Electronic Listening ~~ Perth, W.Australia (WST) 23.00-01.00 Chicago (CST) 09.00-11.00 London (GMT) 15.00-17.00 Detroit/ Windsor (EST) 10.00-12.00 Frankfurt(CET) 16.00-18.00
(313) UR-018 MIA:Schoolcraft Bump
Found this record the other day for $3 and couldn't resist buying it. Unfortunately, I can't read the fine print on the label to see who produced this track (Mike Banks?). The print is all blurry. Can anyone help me out on this. Who/what is MIA? I'm assuming that there is some small story behind this. Thanks, Jason
(313) early days of european techno
Does anyone know a good source of information about the early years of European techno labels such as Basic Channel, Tresor, RS and Warp? Simon Reynold's Generation Ecstasy and Dan Sicko never really went too indepth on these camps of artists. I recently tried going to the web sites and was let down by the unsuccessful attempts of these labels to document their past. Tresor's site had some very interesting biographies of the label and some artists. RS's was terribly incomplete. This preliminary research has me hungry to learn more. Perhaps there is an on-line database somewhere just filled with old magazine articles or interviews. Though many have done a wonderful job documenting the history of Detroit and the artists, I'd really like to learn about our European peers. Any info is appreciated, Jason Birchmeier
