(313) Record stores in Austin, TX
I'll be in Austin between march 12th and 19th. Any tips on good record stores for 45s, 12s, soul, funk, techno, house and well, all the good stuff no matter what genre? Thanks in advance, Kw
(313) Suzanne Vega and the birth of the MP3
http://measureformeasure.blogs.nytimes.com/2008/09/23/toms-essay/
Re: (313) OT: earbud recommendations?
Sennheiser CX-300 will do the job very properly – although they're not very solid built. And, when you compare them with any Shure or M- audio, you'll see that they sound much better even though they're much cheaper! Kw On Sep 14, 2008, at 8:51 PM, Frank Glazer wrote: I'm in the market for some new earbuds for ipod listening on the train. It's been about a year since this subject was last mentioned on list, I checked the archives but thought an update wouldn't hurt. I want something very loud with strong, clear defined bass response. They need to block a significant amount of outside sound so that i don't have to hear chatter or rail noise. So what's everybody using for earbuds these days? I'm considering one of the following: http://www.amazon.com/Shure-E2c-n-Sound-Isolating-Earphones/dp/B000E5GKW8/ref=sr_1_1?ie=UTF8&s=electronics&qid=1221435680&sr=1-1 http://www.amazon.com/V-MODA-Vibe-Earbuds-Gunmetal-Black/dp/B000V5L5MG/ref=sr_1_1?ie=UTF8&s=electronics&qid=1221436093&sr=1-1 http://www.amazon.com/Etymotic-Research-ER4S-Reference-Earphones/dp/B000300Y9O/ref=wl_it_dp?ie=UTF8&coliid=I3TBZ27N3IMN3O&colid=2ZPLTMQTI9YUX http://www.amazon.com/Etymotic-Research-Portable-Earphones-Black/dp/B000XPG2QI/ref=pd_bbs_sr_1?ie=UTF8&s=electronics&qid=1221434596&sr=8-1 http://www.amazon.com/M-Audio-IE-10-Professional-Reference-Monitors/dp/B000JNNNBQ/ref=sr_1_1?ie=UTF8&s=musical-instruments&qid=1221436137&sr=1-1 http://www.amazon.com/Philips-SHE9850-Headphones-Advanced-Acoustics/dp/B00176TEGM/ref=sr_1_1?ie=UTF8&s=electronics&qid=1221435109&sr=1-1 or your recommendation under $175 Thanks in advance! -- peace, frank dj mix archive: http://www.deejaycountzero.com
Re: (313) Richie Hawtin's Traktor setup
I love the White Noise stuff. Anyone else? Kw On Sep 11, 2008, at 10:15 AM, Carlos De Brito wrote: Delia Derbyshire, way before traktor and four wheels of steel: http://de.youtube.com/watch?v=NDX_CS3NsTk Interesting little video: http://www.dailymotion.com/video/x6n4cy_richie-hawtin-traktor-setup_music m -- Pt! Schon das coole Video vom GMX MultiMessenger gesehen? Der Eine für Alle: http://www.gmx.net/de/go/messenger03
Re: (313) Crate digging - don't do it.
Some very nice work of art, that's what i have to say! On Sep 10, 2008, at 10:10 AM, [EMAIL PROTECTED] wrote: http://stefanglerum.blogspot.com/2008/07/crate-digging-dont-do-it.html Had to smile about it this one ;)
Re: (313) Richie Hawtin's Traktor setup
Yeah, they played a technopop version of Chase The Devil and a dancehall version of Man Machine! :-D On Sep 9, 2008, at 3:27 AM, Odeluga, Ken wrote: Kraftwerk have played in Kingston?!? Pow. [Perhaps you mean Kingston-upon-Hull Martin] -Original Message- From: Kowalsky [mailto:[EMAIL PROTECTED] Sent: Monday, September 08, 2008 6:16 PM To: [313] Subject: Re: (313) Richie Hawtin's Traktor setup Maybe i'm not being totally clear: they play their songs, in the same form they were once recorded, with minor changes here and there. They don't re-arrange the songs in a freeform knob twisting style. Their shows, in a tour, have a script they follow - what means that a show in paris will be almost the same as a show in kingston. They act more like a traditional band than like hawtin scrambling loops. On Sep 8, 2008, at 2:09 PM, Martin Dust wrote: On 8 Sep 2008, at 18:06, Kowalsky wrote: There's no big difference, except for Kraftwerk, don't you think? Not really, they've moved with the times just like all the people listed. m
Re: (313) placid storms detroit :D
There will be no other place like this – to see 313 list heads filling in like matches in a box! Wish i could drop by. Kw On Sep 8, 2008, at 9:46 PM, /0 wrote: for detroit area listmembers, placid will be making his first detroit appearance on the 18th at oslo along with kevin reynolds (live) and patrick russell. $5, 10pm, 21+ oslo, detroit
Re: (313) 53 messages and counting about Richie Hawtin and Traktor...
Richie is like the Madonna of techno! :-) On Sep 8, 2008, at 4:55 PM, kent williams wrote: Man, Richie Hawtin is 313's third rail. I don't have anything to add, really, except to say that the best DJ sets I've seen were done with two turntables and a mixer without effects. If you play the right records, in the right order, and mix them right, magic happens. No reason not to experiment with new stuff, or to redefine what a DJ does, but the results are what matters. And there is an undefinable something to a DJ who can grab ahold of a dancefloor and make it a top night, and while technique and gadgets can help, they won't make a boring DJ exciting. And I've seen Richie be exciting, and I've seen him be boring. I have to think that part of what makings his sets these days pretty lackluster is that he really knows his audience, and he's giving them what they want. I know people who are among the faithful, and they'll argue that everything he does is brilliant. I know people with Plastikman TATOOS for Jebus' sake! Given that he's got a global audience who think he's awesome no matter what he does, and has surrounded himself with a group of DJs and producers who do nothing to challenge him, it's no wonder he bothers the picky bastards on 313.
Re: (313) Richie Hawtin's Traktor setup
i rest my case. On Sep 8, 2008, at 6:19 PM, kent williams wrote: Can we invoke Godwin's Law now and declare this thread finished? ;-) Martin Dust <[EMAIL PROTECTED]> wrote on 09/08/2008 03:59:46 PM: [EMAIL PROTECTED] wrote: 'Technolgystolemyvinyl' OK, lets tip the balance... Hitler is a M_nus fan! http://www.youtube.com/watch?v=hNY85iAw4b4 m
Re: (313) Richie Hawtin's Traktor setup
It's from Downfall, a movie about the last days of Hittler in the bunker, and some related events. On Sep 8, 2008, at 6:14 PM, [EMAIL PROTECTED] wrote: "Now I'm going to have to listen to techno all night at home." LOL MEK P.S. - what movie is this clip originally from? I've just seen so many versions of this I wouldn't mind seeing the original Martin Dust <[EMAIL PROTECTED]> wrote on 09/08/2008 03:59:46 PM: [EMAIL PROTECTED] wrote: 'Technolgystolemyvinyl' OK, lets tip the balance... Hitler is a M_nus fan! http://www.youtube.com/watch?v=hNY85iAw4b4 m
Re: (313) Richie Hawtin's Traktor setup
I see 2 many djs the same way i see girl talk. The worst thing is that they go to a more demagogic arena thrill. They emulate a rock show by cutting off the boring parts or the non-top charting tunes and filling the spaces with all the climax moments an arena rock show would have. On Sep 8, 2008, at 4:32 PM, Todd Sines wrote: BMG / Ectomorph. His "DJ" sets are more like on the fly mashups of Prince, Dan Bell, Carl Craig, P Funk, Laid Back, Kraftwerk and B-52s. 2 Many DJs wish they could hold a torch to what he does with Live with their sets.. but thankfully, everything's already sync'ed within Live. as for Traktor: I have been dabbling with the 4 decks thing but still using turntables for the first 2 tracks and then synching to their "master" pitch clocks. You can easily start up another deck or two using your other decks' pitch. Sometimes it works, other times not. As good as Traktor is, it's not always making razor-sharp 1/2/4/8- bar loops for you -- I wouldn't rely on it 100% of the time. But it does make DJing a lot more fun than just playing 90% of the song and fading in the ends. ;) +odd -- On Sep 8, 2008, at 3:23 PM, Kowalsky wrote: Well, hawtin seems to do what's possible. But i didn't like, as i said previously. Sandrinho, a brazilian DJ/producer, does it quite well. And he uses a MPC on top of it. My question was: who does the loop frenzy twisting knobs-o-rama good? On Sep 8, 2008, at 4:06 PM, Martin Dust wrote: Kowalsky wrote: I agree with you. But what you're saying now has nothing to do with what i was asking in first place. OK, Let me reverse it and as you a question. which DJ do you know who can do what's possible with 4 decks in Trakor or Ableton? m
Re: (313) Richie Hawtin's Traktor setup
That's a good analogy! I was never very into his sound, but he works in the same way of operations, looping beats and pieces, but he seems to achieve better results, be it in the matter of moods or ambiences. On Sep 8, 2008, at 4:32 PM, Wojtek wrote: On Mon, Sep 8, 2008 at 12:23 PM, Kowalsky <[EMAIL PROTECTED]> wrote: Well, hawtin seems to do what's possible. But i didn't like, as i said previously. Sandrinho, a brazilian DJ/producer, does it quite well. And he uses a MPC on top of it. My question was: who does the loop frenzy twisting knobs-o-rama good? monolake.
Re: (313) Richie Hawtin's Traktor setup
Well, hawtin seems to do what's possible. But i didn't like, as i said previously. Sandrinho, a brazilian DJ/producer, does it quite well. And he uses a MPC on top of it. My question was: who does the loop frenzy twisting knobs-o-rama good? On Sep 8, 2008, at 4:06 PM, Martin Dust wrote: Kowalsky wrote: I agree with you. But what you're saying now has nothing to do with what i was asking in first place. OK, Let me reverse it and as you a question. which DJ do you know who can do what's possible with 4 decks in Trakor or Ableton? m
Re: (313) Richie Hawtin's Traktor setup
Maybe i'm not being totally clear: they play their songs, in the same form they were once recorded, with minor changes here and there. They don't re-arrange the songs in a freeform knob twisting style. Their shows, in a tour, have a script they follow – what means that a show in paris will be almost the same as a show in kingston. They act more like a traditional band than like hawtin scrambling loops. On Sep 8, 2008, at 2:09 PM, Martin Dust wrote: On 8 Sep 2008, at 18:06, Kowalsky wrote: There's no big difference, except for Kraftwerk, don't you think? Not really, they've moved with the times just like all the people listed. m
Re: (313) Richie Hawtin's Traktor setup
There's no big difference, except for Kraftwerk, don't you think? On Sep 8, 2008, at 1:56 PM, Martin Dust wrote: On 8 Sep 2008, at 17:51, Kowalsky wrote: I know that. But they're playing their own music, not just spinning loops/djing. Most of the artist I listed play their own music or appear live as well as DJing - what's the difference when you boil it all down really? m
Re: (313) Richie Hawtin's Traktor setup
I know that. But they're playing their own music, not just spinning loops/djing. Kw On Sep 8, 2008, at 1:42 PM, Martin Dust wrote: On 8 Sep 2008, at 17:40, Kowalsky wrote: Do you really think that Kraftwerk fits into this? Why? Laptops, Controllers, 3 Octave keyboard no different to what most people use. m
Re: (313) Richie Hawtin's Traktor setup
Do you really think that Kraftwerk fits into this? Why? On Sep 8, 2008, at 1:29 PM, Martin Dust wrote: On 8 Sep 2008, at 15:42, Garrett McGrath wrote: On Sep 7, 2008, at 6:55 PM, Kowalsky wrote: Certainly, there's a way out of this so called BS. Wich compulsive knob twister is doing something creative these days, in this list opinion? Surgeon. Rob Hall, Regis, Kraftwerk, Kero, James Ruskin, Claro, Andy Stott, Monospace etc etc... m
Re: (313) Richie Hawtin's Traktor setup
The mixture of traditional djing and the producer activities points to the future, i think. But in one hand we have the hysterical girl talk thing, in the other the hospital food richie's stuff. I wanna find a compulsive knob twister doing this thing good. There's a lot of baile funk players here, in brazil, doing nice stuff with laptops, midi, mpc and traditional tunes inside an act. Kw On Sep 7, 2008, at 11:09 PM, /0 wrote: within this context, I don't think that things benefit from micro- loop sampling, or production decisions made with DJing in mind. DJ sets just don't seem to be the series of little trips that they used to be. maybe I'm just used to it all. - Original Message - From: "Kowalsky" <[EMAIL PROTECTED]> To: "[313]" <313@hyperreal.org> Sent: Sunday, September 07, 2008 9:55 PM Subject: Re: (313) Richie Hawtin's Traktor setup Certainly, there's a way out of this so called BS. Wich compulsive knob twister is doing something creative these days, in this list opinion? On Sep 7, 2008, at 10:28 PM, /0 wrote: its just that they've defeated the song structure through all of this micro-DJing BS. 30 seconds into the set, your journey is over. - Original Message - From: "Kowalsky" <[EMAIL PROTECTED]> To: "[313]" <313@hyperreal.org> Sent: Sunday, September 07, 2008 9:23 PM Subject: Re: (313) Richie Hawtin's Traktor setup Saw him playing in my city last wednesday. His set was pretty tasteless, flavourless. My impression was just like that: a bunch of loops scrambled over and over, with a crescendo to make the crowd scream from time to time. It seems that a lot of djs, or producers, are showing up in the stage the capabilities of digital blending, the knob thrill just for the sake of it. Well, techno always had a thing about the process, not focusing on a begining or an end, but this tasteless knob thrill usually turns into a kid play, something like "i'm having fun playing with my lego blocks, aren't you?". Well, it's not really that fun just watch someone else playing lego, cause there's no space for you to get in – the expression of the music was suposed to do that, bring the people into the playing. Kw On Sep 5, 2008, at 10:13 AM, Odeluga, Ken wrote: Whilst admiring how clever he is - and I genuinely think Hawtin shows a profound intelligence about how he applies the new opportunities which these latest technologies offer - I found myself drifting. I think I can only take so much technological advancement at a time. Then I kind of withdraw, hoping to hear some actual music. Perhaps something which completes rather than loops over another loop or even four fragments looped at the same time. The day when these genuinely impressive techniques add up to something equally as genuinely impressive coming out of the speakers will be the day when many luddites just using one laptop [ha, I'm not even going to mention the pre-historic relics, like me, who use that black plastic stuff!) won't be allowed to DJ anymore due to being seen as a comedy act. Till then - and it could happen soon: perhaps 3 years? - I think there are few more gigs to come. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Friday, September 05, 2008 12:39 PM To: 313@hyperreal.org Subject: RE: (313) Richie Hawtin's Traktor setup Although i have different midi controllers it's the way i'm playing as well and exactly due to the same reasons. --- Interesting little video: http://www.dailymotion.com/video/x6n4cy_richie-hawtin-traktor-setup_musi c m
Re: (313) Richie Hawtin's Traktor setup
Certainly, there's a way out of this so called BS. Wich compulsive knob twister is doing something creative these days, in this list opinion? On Sep 7, 2008, at 10:28 PM, /0 wrote: its just that they've defeated the song structure through all of this micro-DJing BS. 30 seconds into the set, your journey is over. - Original Message ----- From: "Kowalsky" <[EMAIL PROTECTED]> To: "[313]" <313@hyperreal.org> Sent: Sunday, September 07, 2008 9:23 PM Subject: Re: (313) Richie Hawtin's Traktor setup Saw him playing in my city last wednesday. His set was pretty tasteless, flavourless. My impression was just like that: a bunch of loops scrambled over and over, with a crescendo to make the crowd scream from time to time. It seems that a lot of djs, or producers, are showing up in the stage the capabilities of digital blending, the knob thrill just for the sake of it. Well, techno always had a thing about the process, not focusing on a begining or an end, but this tasteless knob thrill usually turns into a kid play, something like "i'm having fun playing with my lego blocks, aren't you?". Well, it's not really that fun just watch someone else playing lego, cause there's no space for you to get in – the expression of the music was suposed to do that, bring the people into the playing. Kw On Sep 5, 2008, at 10:13 AM, Odeluga, Ken wrote: Whilst admiring how clever he is - and I genuinely think Hawtin shows a profound intelligence about how he applies the new opportunities which these latest technologies offer - I found myself drifting. I think I can only take so much technological advancement at a time. Then I kind of withdraw, hoping to hear some actual music. Perhaps something which completes rather than loops over another loop or even four fragments looped at the same time. The day when these genuinely impressive techniques add up to something equally as genuinely impressive coming out of the speakers will be the day when many luddites just using one laptop [ha, I'm not even going to mention the pre-historic relics, like me, who use that black plastic stuff!) won't be allowed to DJ anymore due to being seen as a comedy act. Till then - and it could happen soon: perhaps 3 years? - I think there are few more gigs to come. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Friday, September 05, 2008 12:39 PM To: 313@hyperreal.org Subject: RE: (313) Richie Hawtin's Traktor setup Although i have different midi controllers it's the way i'm playing as well and exactly due to the same reasons. --- Interesting little video: http://www.dailymotion.com/video/x6n4cy_richie-hawtin-traktor-setup_musi c m
Re: (313) Richie Hawtin's Traktor setup
Saw him playing in my city last wednesday. His set was pretty tasteless, flavourless. My impression was just like that: a bunch of loops scrambled over and over, with a crescendo to make the crowd scream from time to time. It seems that a lot of djs, or producers, are showing up in the stage the capabilities of digital blending, the knob thrill just for the sake of it. Well, techno always had a thing about the process, not focusing on a begining or an end, but this tasteless knob thrill usually turns into a kid play, something like "i'm having fun playing with my lego blocks, aren't you?". Well, it's not really that fun just watch someone else playing lego, cause there's no space for you to get in – the expression of the music was suposed to do that, bring the people into the playing. Kw On Sep 5, 2008, at 10:13 AM, Odeluga, Ken wrote: Whilst admiring how clever he is - and I genuinely think Hawtin shows a profound intelligence about how he applies the new opportunities which these latest technologies offer - I found myself drifting. I think I can only take so much technological advancement at a time. Then I kind of withdraw, hoping to hear some actual music. Perhaps something which completes rather than loops over another loop or even four fragments looped at the same time. The day when these genuinely impressive techniques add up to something equally as genuinely impressive coming out of the speakers will be the day when many luddites just using one laptop [ha, I'm not even going to mention the pre-historic relics, like me, who use that black plastic stuff!) won't be allowed to DJ anymore due to being seen as a comedy act. Till then - and it could happen soon: perhaps 3 years? - I think there are few more gigs to come. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Friday, September 05, 2008 12:39 PM To: 313@hyperreal.org Subject: RE: (313) Richie Hawtin's Traktor setup Although i have different midi controllers it's the way i'm playing as well and exactly due to the same reasons. --- Interesting little video: http://www.dailymotion.com/video/x6n4cy_richie-hawtin-traktor-setup_musi c m
Re: (313) [313] my kind of techno.
Gosh! That's a brazilian release! :-P kw On Aug 29, 2008, at 5:19 PM, Lee Herrington wrote: Alright! I can't wait to get home and freak to this! http://www.discogs.com/viewimages?release=956230 cheers, lrh
Re: (313) any glasswegians or bathites?
In Glasgow, i would look out for Rustie gigs! One of the great operators nowadays, in my opinion. On Aug 15, 2008, at 3:35 AM, David Beattie wrote: Hi Frank, as far as Glasgow is concerned just head for RubADub for shopping and while there the guys will let you know whats going on while you are here. If you want to have a look at whats on in advance there are a couple of local forums you can check out www.miscreat.com/forums http://www.slamevents.com/speak/index.html Cheers BT --- Frank Glazer <[EMAIL PROTECTED]> wrote: I'm planning a mid-December trip to the UK. Going to be in Bath (for business) and Glasgow (for pleasure), and/or recommendations for other techno friendly places en-route. Any suggestions of clubs, shops, sights, and/or friend-ups and/or bookings would be welcome. -- peace, frank dj mix archive: http://www.deejaycountzero.com
Re: (313) Detroit Techno Mix (1988-92)
This is funny... I love States Of Mind's Elements Of Tone. It is the J's A Mix version the one i love, wich i think is "the" version. But in every mixtape i see this tune pops up, it is always Hawtin's mix. Well, what a useless piece of mail i sent, huh? :) Kw On Jul 30, 2008, at 4:35 PM, Wes Prince wrote: Hi all, This mix looks well worth checking...can't beat the track list. http://www.discogs.com/groups/topic/168251 1. Reel By Real- Aftermath (Album Version) 10 Records 1990 2. Rhythim Is Rhythim- Feel Surreal (Subconscious Mix) Transmat 1988 3. R-Tyme- R-Theme (Mayday Mix) Transmat 1989 4. Rhythim Is Rhythim- Beyond The Dance (Bizarro Mix) Transmat 1988 5. Mayday- Freestyle (Bongo Mix) Pheerce City 1988 6. Shakir- Sequence 10 (10 Records 1988) 7. Juan- Techno Music (10 Records 1988) 8. States Of Mind- Elements Of Tone (Richie's Dream Mix) Plus 8 Records 1990 9. We R Who We R- Derivative (Kirk Smith Techno Mix) 2020 Records 1990 10. Mayday- Wiggin' (Master Reese Mix) Pheerce Citi 1988 11. Shake- Sonar 123 (Interface Records 1990) 12. Reese- Inside Out (Fragile Records 1991) 13. Cybersonik- Technarchy (Plus 8 Records 1990) 14. States Of Mind- Destiny (Champion Records 1991) 15. Cybersonik- Cabaret 7 (Champion Records 1991) 16. F.U.S.E.- Refused (Champion Records 1991) 17. BFC- Evolution (Fragile Records 1990) 18. Cybersonik- Carousel (Plus 8 Records 1990) 19. Reese And Santonio- Groovin' Without A Doubt (Re-Mix) Kool Kat Records 1988 20. Kevin Saunderson- The Groove That Won't Stop (Kool Kat Records 1988) 21. Octave One- I Believe (Magic Juan Mix) Transmat 1990 22. Octave One- Nicolette (430 West 1991) 23. States Of Mind- Audio Q-5a (The Zone Out Mix) Plus 8 Records 1990 24. Reese- Just Want Another Chance (Mix 3) Incognito Records 1988 25. Yennek- Serena X (Inner Zone Mix) Buzz Records 1992 26. Kenny Larkin- Manik Man (Champion Records 1991) 27. World 2 World- Greater Than Yourself (Underground Resistance 1992) Cheers, Wes -- http://www.myspace.com/westonprince
Re: (313) Must-see stop-motion video
There's a band i was in love couple of years ago, called Zombi. Their sound is pretty much in the same theme and orientation, but far better. Well... look at the name similarity. I don't wanna say that, but Zombie Zombie looks like a cheaper copy. Kw On Jul 21, 2008, at 3:41 PM, Scotto wrote: mike, i would have had to first read the youtube page and known who john carpenter was. both of which i did not. now i did play with gi joe's as a kid and has seen the thing several times now i am not sure of this, but, i think thee is a full version of the thing done by these guys out there and it looks like the video producer nipped that. the memory is foggy but i think someone posted the full video to the detroitluv.com a few years back. but either way the video is very cool as is the song. scotto On Jul 18, 2008, at 10:52 AM, [EMAIL PROTECTED] wrote: Really? So that's why the creator of the video posted this on the youtube page: Directed by Simon Gesrel and Xavier Ehretsmann thanks to their favourite toys... the GI Joes ! The video is an hommage to the director AND soundtrack composer John Carpenter, especially one of his masterpieces : THE THING." ;-) MEK Scotto <[EMAIL PROTECTED]> wrote on 07/18/2008 08:38:41 AM: the video kind of looks like a knock off of "The Thing" done with GI Joe figures. if you have never seen "the thing" it is an awesome movie from the 80s with kirk russell and wolford brimley. the music was pretty cool, i do like tracks that build on the emotion like this one. scotto On Jul 18, 2008, at 2:59 AM, Jeffrey Richards wrote: that was good... The soundtrack...I've never seen the film that the song is from, but that track is horrifying. I need it, any ideas where I can pick it up on LP? --- Ronny Pries <[EMAIL PROTECTED]> wrote: http://www.youtube.com/watch?v=rT7AH4JyuNs What an outstanding piece of Carpenter-esque art, both in terms of setting, filming and music. It's f**n A! Those french guys again... Wicked. www.SettleTheScore.org When we feel strongly about something, it is our natural desire to let others know. Now there is a place to do just that. www.SettleTheScore.org
(313) Ugly Edits
I was thinking about buying the entire Theo's Ugly Edits series. Anyone here has a hint or a good source to buy from? Kw
Re: (313) It's House (mix)
It makes sense. In other hand, i think the cicle between now and the retro targeted period consists of 20 years, more or less. Kw On Jul 1, 2008, at 5:53 PM, [EMAIL PROTECTED] wrote: I have a theory that the trends in retro are spurned on by the generation who just missed out on it - so you can gauge the popularity of dance music right now by the age group just discovering it for the first time and who have recently gotten into house/techno/etc. or is that obvious? MEK Ronny Pries <[EMAIL PROTECTED]> wrote on 07/01/2008 03:49:18 PM: Good music ain't no trend - it's here to stay! the retro mix trend is in fact moving from mid to late 70s disco to late 80s/early 90s house now. pretty soon all the underground retro playlists will be featuring mid 90s progressive house! On Mon, Jun 30, 2008 at 8:57 AM, <[EMAIL PROTECTED]> wrote: Found this one in the vault of my mixfolder and since sun is shining etc it's definitely time for some good old housemusic! 1h30m04s - 127mb http://www.deviation04.com/~set/rp-sls070128.mp3 01. Mike Dunn - God Made Me Phunky [Open] 02. Kenlou - The Bounce [Masters At Work] 03. Maurice - Got Me Burning [Strictly Rhythm] 04. Armand Van Helden - The Phunk Phenomena [Henry Street Music] 05. Terence FM - Feelin Kinda High (Cajmere Rmx) [Cajual] 06. Spank Spank - Your Inspiration (DJ Pierre's Da Bomb) [Nite Grooves] 07. Jeremiah - Betastreet [Grow!] 08. Vincenco & Duffer Swift - Got To Be [Raw Elements] 09. Todd Terry - Logans Running [Sound Design] 10. Mr. Monday - Future (Roach Motel Remix) [Open] 11. Banji Boys - Love Thang [Strictly Rhythm] 12. Interceptor - Together (Murk Rmx) [Tribal America] 13. Jon Joy - We Need Luv (Sven Van Hees Mix) [Global Cuts] 14. The Dynamic Duo - In The Pocket [Nu Groove] 15. Herbert - Take Me Back [Phono] 16. Phuture Scope - What Is House Music? [Emotive] 17. Night Writers - Let The Music Use You [Jack Trax] 18. Techfunkers - Tech The Funk [Sex Mania] 19. The Mole People - Break Night [Strictly Rhythm] 20. Dee Lite - Wild Times (Mayday Mix) [White] 21. Libery City - If You Really Want Someone (Rub A Dub Mix) [Tribal America] 22. Mr. Barth & The Persuader - Snorkelmannen [Svek] 23. Cajmere - Only 4 You [Cajual] 24. Crystal Waters - Gypsy Woman [MCA] 25. Auto Repeat - Needle Damage (DJ Sneak Rmx) [SSR] 26. Percy X & Mark Broom - Lady Killer [Soma] 27. Annette - Dream 17 [Deconstruction] 28. DJ Pierre - Fall [Strictly Rhythm] 29. The Jungle Brothers - I'll House You [Warlock] 30. Lil Louis - I Called You [London Records]
Re: (313) Saturday night in NYC
Exactly. I don't know WH you mean. :-P On Fri, Jun 27, 2008 at 11:02 PM, Matt Kane's Brain <[EMAIL PROTECTED]> wrote: > That's the Li'l JON joke! > > On Fri, Jun 27, 2008 at 8:09 PM, Kowalsky <[EMAIL PROTECTED]> wrote: >> WH??? > > -- > matt kane's brain > techno radio at: http://hydrogenproject.com http://wzbc.org > capoeira in boston http://capoeirageraisusa.com > aim -> mkbatwerk >
(313) OT - Buenos Aires
Sorry to come again with this, but there's anyone from Buenos Aires in this list? thanks Kw
Re: (313) Saturday night in NYC
WH??? :-D Sorry. Couldn't resist. The Lil' Wayne joke is bigger than me. On Fri, Jun 27, 2008 at 6:23 PM, 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 ... >
Re: (313) Arthur Russell film
Go Bang and Loose Joints are both killer tracks. But there's another Russell's discoish track i love called Get Around To It. Funky as hell, but in a totally original Russell's way. Kw On Mon, Jun 23, 2008 at 8:17 PM, <[EMAIL PROTECTED]> wrote: > THAT'S RIGHT! Totally spaced that he's also Loose Joints. Those two tracks > are def. on the list of best dance tracks of all times.. You should def, hit > up his parents if you can get a showing there. A live rendition of those > tracks would be hot! It would be tempting to put those tracks out back to > back on 12" .. ;) > > > > Quoting kent williams <[EMAIL PROTECTED]>: > >> Go Bang is One Of THOSE Tracks. I always dug it for being dubby and >> jazzy, >> but when I play it out people just go OFF. It's hard for me not to cane >> it >> every time I play. >> >> Russell grew up a little ways down the highway west of Iowa City. I >> contacted the producers to see if we can swing a showing here, so his mom >> and pop could come up. I bet they went to one of the premiers, but it >> would >> do them good to see the love Arthur gets from Iowans. We can put on a >> killer afterparty -- I turned a friend of mine who's in a Jazz/Funk/Salsa >> band onto Arthur Russell, and his band would be perfect to play "Go Bang" >> and "Is It All Over My Face" live ... >> >> On Mon, Jun 23, 2008 at 12:20 PM, <[EMAIL PROTECTED]> wrote: >> >>> This looks fantastic! Russel was a true pioneer; Dinosaur L - Go bang is >>> one of the most amazing tracks I've heard to date.. What a shame he had >>> to >>> pass away so young.. >>> >>> >> > > > > >
Re: (313) WTF
I've seen that movie. I like the central idea, but the script was developed so poorly. On Wed, Jun 18, 2008 at 12:53 PM, Joel Gajewski <[EMAIL PROTECTED]> wrote: > No one has ever seen that "deep" movie The Cube? lol > > > - Original Message > From: "Odeluga, Ken" <[EMAIL PROTECTED]> > To: 313 Mailing List <313@hyperreal.org> > Sent: Wednesday, June 18, 2008 2:16:06 AM > Subject: FW: (313) WTF > > This has already been discussed ad nauseum my good man. > > -Original Message- > From: Kowalsky [mailto:[EMAIL PROTECTED] > Sent: Tuesday, June 17, 2008 10:15 PM > To: 313@hyperreal.org > Subject: (313) WTF > > > is this? > > http://www.contakt-events.com/ > >
Re: (313) WTF
I'm sorry folks. I slept on this one big time. On Tue, Jun 17, 2008 at 6:16 PM, Matt Kane's Brain <[EMAIL PROTECTED]> wrote: > Old news :) > > http://elists.resynthesize.com/313/2008/05/1944437/313-Another-Level-ContaKT.html > > On Tue, Jun 17, 2008 at 5:15 PM, Kowalsky <[EMAIL PROTECTED]> wrote: >> is this? >> >> http://www.contakt-events.com/ >> > > > > -- > matt kane's brain > techno radio at: http://hydrogenproject.com http://wzbc.org > capoeira in boston http://capoeirageraisusa.com > aim -> mkbatwerk >
(313) WTF
is this? http://www.contakt-events.com/
Re: (313) Space Disco
It's very usual do find country song patterns in technopop. Maybe it's due to the idealization of the crooner figures. Stephin Merrit said that too. Kw On 09/06/2008, at 14:04, Cyclone Wehner wrote: Yeah I think there's an influence, even though his roots lie in country (!) On 08/06/2008, at 9:21 AM, Kowalsky wrote: He may claim or reject, whatever. He sounds retro, obviously. The disco sounds, be it space, italo, or even latin, are there. Don't you think? And i'm not talking as a casual disco listener. Kw On 07/06/2008, at 13:15, Cyclone Wehner wrote: To be fair to Lindstrom he rejects the space disco tag and feels it's a media buzz, the whole Norwegian cosmic disco 'sound' - only space disco homage he ever did he claims is I Feel Space. On 07/06/2008, at 5:45 AM, Michael Greenleaf wrote: Have you guys had the chance to hear John Arnold's and Jeremy Ellis's "Nightlife" that was played on Gilles Peterson for the last two weeks. This is a re-cut of the disco classic Night Life put our by Blair, one of the original members of the Blakbyrds. Not "space" disco, but it comes close. Good stuff... Quoting Kowalsky <[EMAIL PROTECTED]>: I posted here a mix a recorded, recently, with a lot of space disco and italo disco tunes. I love space disco originals, and was suposed to like Lindstrom's tracks. But they sound kinda generic in the end. Honestly? I prefer some of the Cloud releases or even some Italians Do It Better releases. Kw On 03/06/2008, at 15:30, Cyclone Wehner wrote: What do the Detroit fans here say on the cosmic sounds coming from Norway? I'm excited to hear Lindstrom's forthcoming album. Another Station is my favourite song of his - sublime - though everyone rates I Feel Space. Todd Terje too is up and coming and interesting. That crew is quietly eccentric (Todd is into pop like Madonna's La Isla Bonita) but they're making some lovely melodic electronic music that I could imagine appealing to fans of the more melodic side of techno (Mayday, Martian, Inner City etc).
Re: (313) Space Disco
He may claim or reject, whatever. He sounds retro, obviously. The disco sounds, be it space, italo, or even latin, are there. Don't you think? And i'm not talking as a casual disco listener. Kw On 07/06/2008, at 13:15, Cyclone Wehner wrote: To be fair to Lindstrom he rejects the space disco tag and feels it's a media buzz, the whole Norwegian cosmic disco 'sound' - only space disco homage he ever did he claims is I Feel Space. On 07/06/2008, at 5:45 AM, Michael Greenleaf wrote: Have you guys had the chance to hear John Arnold's and Jeremy Ellis's "Nightlife" that was played on Gilles Peterson for the last two weeks. This is a re-cut of the disco classic Night Life put our by Blair, one of the original members of the Blakbyrds. Not "space" disco, but it comes close. Good stuff... Quoting Kowalsky <[EMAIL PROTECTED]>: I posted here a mix a recorded, recently, with a lot of space disco and italo disco tunes. I love space disco originals, and was suposed to like Lindstrom's tracks. But they sound kinda generic in the end. Honestly? I prefer some of the Cloud releases or even some Italians Do It Better releases. Kw On 03/06/2008, at 15:30, Cyclone Wehner wrote: What do the Detroit fans here say on the cosmic sounds coming from Norway? I'm excited to hear Lindstrom's forthcoming album. Another Station is my favourite song of his - sublime - though everyone rates I Feel Space. Todd Terje too is up and coming and interesting. That crew is quietly eccentric (Todd is into pop like Madonna's La Isla Bonita) but they're making some lovely melodic electronic music that I could imagine appealing to fans of the more melodic side of techno (Mayday, Martian, Inner City etc).
Re: (313) Space Disco
I posted here a mix a recorded, recently, with a lot of space disco and italo disco tunes. I love space disco originals, and was suposed to like Lindstrom's tracks. But they sound kinda generic in the end. Honestly? I prefer some of the Cloud releases or even some Italians Do It Better releases. Kw On 03/06/2008, at 15:30, Cyclone Wehner wrote: What do the Detroit fans here say on the cosmic sounds coming from Norway? I'm excited to hear Lindstrom's forthcoming album. Another Station is my favourite song of his - sublime - though everyone rates I Feel Space. Todd Terje too is up and coming and interesting. That crew is quietly eccentric (Todd is into pop like Madonna's La Isla Bonita) but they're making some lovely melodic electronic music that I could imagine appealing to fans of the more melodic side of techno (Mayday, Martian, Inner City etc).
Re: (313) Way OT but Bo Diddley died (RIP)
I love that square guitar sounds. RIP. On 02/06/2008, at 18:36, [EMAIL PROTECTED] wrote: http://ap.google.com/article/ALeqM5iBZ- NbmeMiN8RESlwc0CQDP5ntcAD9121T2O0 full respect goes out to this innovator - thank you for making rock n roll MEK
Re: (313) juan and kraftwerk (was Re: (313) 313 - T)
That's exactly what i was saying to Frank. I didn't understand what you're asking. But, i agree with you. This argument is pointless. And more pointless is to imagine a world where techno exists and kraftwerk doesn't. The kraftwerk sound signature can be heard, clearly, in many detroit tunes. That's an undeniable fact. Kw On 02/06/2008, at 17:47, Fred Heutte wrote: The whole argument is pointless. Trans Europe Express and Autobahn were huge hits on black radio. I know because I heard them a lot on the major DC stations (WOL and WOOK) at the time. Same in Detroit I'm sure. Whether Juan was influenced directly or not is for him to say. "Influence" could mean "I heard it on the radio" or it could mean "I had the album and studied how they were making the sounds." For our purposes here, what does it matter, Kowalsky? For what it's worth, the first electronic pop hit I recall was Dick Hyman's "Minotaur." That was 1968. He's a pretty remarkable guy, by the way -- had an illustrious career as a jazz player, composer and researcher and is still alive. He has recordings released in every medium from 78s to MP3s. fh
Re: (313) juan and kraftwerk (was Re: (313) 313 - T)
It's not hard to understand. Nevertheless i still see kraftwerk in detroit techno. Juan got the Kraftwerk in second hand through other styles, like electro. I mean no offense, but what is really hard to understand, and pointless, is this: "it proves that Detroit techno would have existed even if Kraftwerk had not existed" An "if" does not cut it to prove anything. Kw On 02/06/2008, at 15:14, Frank Glazer wrote: all i'm saying, and all i've ever said, is that juan atkins was making techno before he heard kraftwerk. why is that so hard to understand? On Mon, Jun 2, 2008 at 2:06 PM, Kowalsky <[EMAIL PROTECTED]> wrote: So, the fact you claim to be true is: Kraftwerk has nothing to do with the creation of the detroit techno. Right? On 02/06/2008, at 14:54, Frank Glazer wrote: it's not an if. it's a statement of fact. juan atkins was making techno before he heard kraftwerk. he said it, he put it in writing, it's a fact. On Mon, Jun 2, 2008 at 1:52 PM, Kowalsky <[EMAIL PROTECTED]> wrote: Frank, i'm sorry to disagree with you again, but there is no logic in saying something would be this way if... You can say that kraftwerk had no influence, or that they influenced but not as much as people say or that they did influenced a lot. These 3 cases should lead us to a real debate. The "if" leads nowhere. Kw On 02/06/2008, at 14:05, Frank Glazer wrote: On Mon, Jun 2, 2008 at 1:01 PM, Thor Teague <[EMAIL PROTECTED]> wrote: To play devil's advocate, that doesn't prove that if Kraftwerk had never existed, Detroit techno would not have existed. That was exactly my point. If you ask me, it proves that Detroit techno would have existed even if Kraftwerk had not existed, because Juan said he was already doing techno before hearing kraftwerk! On Mon, Jun 2, 2008 at 11:56 AM, Frank Glazer <[EMAIL PROTECTED]> wrote: remember that argument we were all having recently about whether techno would have happened without kraftwerk? the comment that sparked it was "Juan and Kevin and Derrick might have had had some difficulty without the Germans" (this was in the context of who belongs on a techno mount rushmore alongside the belleville three) well, i was just reading an article from the march 1999 issue of (now defunct) muzik magazine. it was an ongoing feature in which they'd have a techno personality come up with a list of favorite songs for a hypothetical mixtape. juan atkins was featured in this particular "do us a tape" and he said this: "track 9: kraftwerk - numbers - warner brothers: I froze in my tracks when I heard this. It was on the radio one night and I was like 'what is this?' **I was making music already, doing totally electronic recordings and the similarities freaked me out.** I used to go to the music store and just play around with the synthesiser. I think it had the same impact on music as the electric guitar did when that was introduced. You could do anything with it - your imagination was the limit." -- peace, frank dj mix archive: http://www.deejaycountzero.com -- peace, frank dj mix archive: http://www.deejaycountzero.com -- peace, frank dj mix archive: http://www.deejaycountzero.com
Re: (313) juan and kraftwerk (was Re: (313) 313 - T)
So, the fact you claim to be true is: Kraftwerk has nothing to do with the creation of the detroit techno. Right? On 02/06/2008, at 14:54, Frank Glazer wrote: it's not an if. it's a statement of fact. juan atkins was making techno before he heard kraftwerk. he said it, he put it in writing, it's a fact. On Mon, Jun 2, 2008 at 1:52 PM, Kowalsky <[EMAIL PROTECTED]> wrote: Frank, i'm sorry to disagree with you again, but there is no logic in saying something would be this way if... You can say that kraftwerk had no influence, or that they influenced but not as much as people say or that they did influenced a lot. These 3 cases should lead us to a real debate. The "if" leads nowhere. Kw On 02/06/2008, at 14:05, Frank Glazer wrote: On Mon, Jun 2, 2008 at 1:01 PM, Thor Teague <[EMAIL PROTECTED]> wrote: To play devil's advocate, that doesn't prove that if Kraftwerk had never existed, Detroit techno would not have existed. That was exactly my point. If you ask me, it proves that Detroit techno would have existed even if Kraftwerk had not existed, because Juan said he was already doing techno before hearing kraftwerk! On Mon, Jun 2, 2008 at 11:56 AM, Frank Glazer <[EMAIL PROTECTED]> wrote: remember that argument we were all having recently about whether techno would have happened without kraftwerk? the comment that sparked it was "Juan and Kevin and Derrick might have had had some difficulty without the Germans" (this was in the context of who belongs on a techno mount rushmore alongside the belleville three) well, i was just reading an article from the march 1999 issue of (now defunct) muzik magazine. it was an ongoing feature in which they'd have a techno personality come up with a list of favorite songs for a hypothetical mixtape. juan atkins was featured in this particular "do us a tape" and he said this: "track 9: kraftwerk - numbers - warner brothers: I froze in my tracks when I heard this. It was on the radio one night and I was like 'what is this?' **I was making music already, doing totally electronic recordings and the similarities freaked me out.** I used to go to the music store and just play around with the synthesiser. I think it had the same impact on music as the electric guitar did when that was introduced. You could do anything with it - your imagination was the limit." -- peace, frank dj mix archive: http://www.deejaycountzero.com -- peace, frank dj mix archive: http://www.deejaycountzero.com
Re: (313) juan and kraftwerk (was Re: (313) 313 - T)
Frank, i'm sorry to disagree with you again, but there is no logic in saying something would be this way if... You can say that kraftwerk had no influence, or that they influenced but not as much as people say or that they did influenced a lot. These 3 cases should lead us to a real debate. The "if" leads nowhere. Kw On 02/06/2008, at 14:05, Frank Glazer wrote: On Mon, Jun 2, 2008 at 1:01 PM, Thor Teague <[EMAIL PROTECTED]> wrote: To play devil's advocate, that doesn't prove that if Kraftwerk had never existed, Detroit techno would not have existed. That was exactly my point. If you ask me, it proves that Detroit techno would have existed even if Kraftwerk had not existed, because Juan said he was already doing techno before hearing kraftwerk! On Mon, Jun 2, 2008 at 11:56 AM, Frank Glazer <[EMAIL PROTECTED]> wrote: remember that argument we were all having recently about whether techno would have happened without kraftwerk? the comment that sparked it was "Juan and Kevin and Derrick might have had had some difficulty without the Germans" (this was in the context of who belongs on a techno mount rushmore alongside the belleville three) well, i was just reading an article from the march 1999 issue of (now defunct) muzik magazine. it was an ongoing feature in which they'd have a techno personality come up with a list of favorite songs for a hypothetical mixtape. juan atkins was featured in this particular "do us a tape" and he said this: "track 9: kraftwerk - numbers - warner brothers: I froze in my tracks when I heard this. It was on the radio one night and I was like 'what is this?' **I was making music already, doing totally electronic recordings and the similarities freaked me out.** I used to go to the music store and just play around with the synthesiser. I think it had the same impact on music as the electric guitar did when that was introduced. You could do anything with it - your imagination was the limit." -- peace, frank dj mix archive: http://www.deejaycountzero.com
(313) OT - Italo-disco, space-disco and alike
Well, i recorded this mix recently. Don't know if y'all into these sounds. A lot of old tunes, some 30 year old tunes, and a few recent ones. Tracklist and download link follows: www.divshare.com/download/launch/4598366-bf7 DJ Kowalsky - Disco Spaziale Tracklist: 01 - Knight Action - Single Girl 02 - Advance - Take Me To The Top 03 - Alexander Robotnick - Problèmes D'Amour 04 - Harry Thumann - Sphinx 05 - Black Devil Disco - Timing, Forget The Timing 06 - Escort - A Bright New Life 07 - Kerrier District - Ce Porte 08 - Giorgio Moroder - I'm Left, You're Right, She's Gone 09 - Yello - Bostich 10 - Giorgio Moroder - Chase 11 - Visage - Fade To Grey 12 - Arpadys - Monkey Star 13 - Dharma - Plastic Doll 14 - Jupiter Black - Hold Me (instrumental) 15 - Lipps Inc - Funky Town 16 - Gino Soccio - Dancer 17 - LA TF - Magical Body 18 - Amin Peck - Girl On Me 19 - The Twins - Face To Face - Heart To Heart 20 - Escort - Love In Indigo 21 - Knight Action - D'Rail 22 - Mirage - Lady Operator 23 - Automat - Droid 24 - Oppenheimer Analysis - Devil's Dancers 25 - Peter Richard - Strange Desires (instrumental) 26 - Chromatics - Hands In The Dark 27 - Alexander Robotnick - Problèmes D'Amour (dub) 28 - Professor Genius - Pegaso (Excerpt)
Re: (313) Best festival Hot Ghetto Mess so far
How the people in the US name this? Whale tail? :-D On 29/05/2008, at 01:15, Luis-Manuel Garcia wrote: I respect all of your entries so far, but nothing beats this from 2006: http://www.flickr.com/photos/lmgm/398584866/in/set-72157594549855787/ warning: this will hurt. possibly NSFW, definitely NSFKittens. LMGM
(313) OT - Buenos Aires
is there Anyone from Buenos Aires, or near cities, here in the list? Kw
Re: (313) mix: acid/electro/b-more/detroit
Quite good mix, with some very good blending moments. What gear did you use? And... the mix ends abruptly or my file didn't download entirely? Kw On 15/05/2008, at 16:48, BD wrote: http://bfamilyrecords.com/mixes/comments.php?nav=0&id=205 Party In Your Ear Hole, Part 2 trax: 1. Bebe Dada Intro 2. Ark - Punkadelic (Mr. Oizo Remix) 3. ZZT - Lower State Of Consciousness 4. DJ Nasty - Buttons 5. Simian Mobile Disco - Tits & Acid 6. CSS - Alala (Bonde De Role Remix) 7. DJ Technics - Computer Doo Doo 8. DBX - Super Phreak 9. Dopplereffekt - Cellular Phone 10. Takkyu Ishino - Ghost In The Shell 11. Bobmo - Home Alone 12. Blaq Starr - Check Me Out Like 13. Mr. Oizo - Ovoma 14. Acen - Trip II The Moon - Part 2 15. TNT - L8 16. Detroit Grand Pubahs - Nurse Hurse Jack Move 17. Egg Foo Young - Up It 18. Tittsworth - Dawn 19. New Young Pony Club - Ice Cream (Herve Goes Bananas Remix) 20. DJ Skurge - Slide Skate 21. Body Code - Equidistant 22. i f - Theme from PACK 23. Egyptian Lover - I Cry 24. Mr. Oizo - Half an Edit 25. Wee Papa Girls - Heat It Up 26. Psyche - From Beyond 27. Diplo - Thingamajawn Pt. 3 28. Aphex Twin - Ageispolis 29. OutKast - Spottieottiedopaliscious 30. Outputmessage - Bernard's Song __ D O T E A S Y - "Join the web hosting revolution!" http://www.doteasy.com
Re: (313) 313 - T
There's no "if". All happened the way it happened. Kraftwerk IS a major influence on techno, what's the point of speculating about it never existed? Kw On 21/05/2008, at 15:05, Frank Glazer wrote: That's wildly arguable. Certainly nobody can deny a Kraftwerkian influence in early techno, but I really strongly believe techno would have happened with or without them. There were entire too many other things going on that affected the Belleville three. On Wed, May 21, 2008 at 1:58 PM, Arturo Lopez <[EMAIL PROTECTED]> wrote: The original two members of Kraftwerk, Florian Schneider-Esleben and Ralf Hütter split the last one. Juan and Kevin and Derrick might have had had some difficulty without the Germans. -Arturo -- peace, frank dj mix archive: http://www.deejaycountzero.com
Re: (313) Swamp Pop
He's from New Orleans. Kw On 03/05/2008, at 08:44, [EMAIL PROTECTED] wrote: Who's Fats Domino? Is he from Berlin? Jason 2008/5/4 ralph gill <[EMAIL PROTECTED]>: Hey, isn't techno like swamp pop...but without the liberal thought process..., you know, it's "like white people doing fats domino?" No virus found in this outgoing message. Checked by AVG. Version: 7.5.524 / Virus Database: 269.23.8/1412 - Release Date: 5/2/2008 4:34 PM
Re: (313) Easiest way to start a (313) argument - the Richie Hawtin RA Podcast
I didn't read all the posts in this thread, sorry about that, but anyone mentioned Elements of Tone from States of Mind already? This track is a killer, and it's one of my favorite techno tunes of all time, although i don't dig everything Hawtin did. Kw On 02/05/2008, at 12:00, Odeluga, Ken wrote: -Original Message- From: KiDD*e [mailto:[EMAIL PROTECTED] Sent: Friday, May 02, 2008 11:19 AM To: Three-One-Three Subject: Re: (313) Easiest way to start a (313) argument - the Richie Hawtin RA Podcast After your post, i've started listening to Plastikman's discography. Of course "Spastik" is a forever classic, personnaly i've always loved and rated Fuse's "Dimension Intrusion" number one. But i forgot there are some true wonders on the following albums, e.g. how "Are Friends Elektric?" is pretty. (from "Artifakts (BC)" album). - K* *** Agreed on this KiDD*e. This gives me what might be a more positive, and revealing idea than to tear strips off what we don't like about RH. How about if we list some of the things he's done, under any moniker, which we do like? Tristan mentioned the 'I Don't Know' 12" In my case: I like the whole 'Closer' LP plus: Consumed Dimension Intrusion Artifakts Sheet One still hypnotised by the Krakpot 12" Still reach back for From My Our Minds To Yours Got into DE9 musically about 3 years after buying it and appreciating it's technological prowess immediately Then there's Spastik This: http://www.discogs.com/release/75030 And his mix on this! http://www.discogs.com/release/29578 The fact is, I could go on. Now that's quite a list and quite a lot from a self-confessed Richie-baiter like me! The fact that a large swathe of projects he has either promoted or actually produced have been pants (imo) doesn't take away from his talent in making modern electronic music. Having talent in 'MEM' is not the same as what 'musical talent' might have meant up till about the latter part of the 20th Century, perhaps. But there's no doubt that he's got it. Much as I'm somewhat irritated by his near-omnipresence in our world and the naffness of a lot of m_nus records, I have to give credit where it's due. Anybody else? Ken - Original Message - From: "Frank Glazer" <[EMAIL PROTECTED]> To: "kent williams" <[EMAIL PROTECTED]> Cc: "313 Mailing List" <313@hyperreal.org> Sent: Friday, May 02, 2008 9:53 AM Subject: Re: (313) Easiest way to start a (313) argument - the Richie Hawtin RA Podcast You know what? I am pretty sure I hate everything richie hawtin has done since the Consumed album (save the exception that proves the rule, his "low blow" track that he did with steve bug), but if he had never done anything but "Spastik", I'd still consider him a god amongst techno men. SPASTIK FOR CHRISSAKES. You just can't beat it.
Re: (313) Meanwhile, back in Detroit......
What if we do a little research right now to see if there is, possibly, a detroit artist not born in detroit? What will happen? Ruffle the drums! On 30/04/2008, at 20:50, Todd Sines wrote: If it didn't, we might not have this list. +odd -- On Apr 30, 2008, at 7:45 PM, /0 wrote: whats where's from got to do with it? - Original Message - From: "Frank Glazer" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Cc: "313 313" <313@hyperreal.org> Sent: Wednesday, April 30, 2008 6:48 PM Subject: Re: (313) Meanwhile, back in Detroit.. Dj Jus-Ed- don't remember much discussion about this guy on the list before...he's got some new material coming soon...what's peoples' thoughts on him? The next Omar S? :) Omar S is the next Omar S. Jus-Ed is quite good but 1) he's from connecticut, not detroit and 2) he's got a bit of a different style than omar, a bit more delano smith / mike grant / moods and grooves than that real lo-fi omar aesthetic. peace, frank dj mix archive: http://www.deejaycountzero.com
Re: (313) Aux 88 special + some detroit classics
Now it's gonna work, finally! Rapidshare cut the hosting for the mix file, but here it is: http://brunoveloso.com/djkowalsky_mixes/DJ_Kowalsky_- _Especial_Aux_88.mp3 Or you can listen to the streaming in the festival's blog: http://www.festivalbpm.com.br/index.php? option=com_content&view=category&layout=blog&id=34&Itemid=62 Sorry for the previous broken download. Kw On 23/04/2008, at 13:20, Kowalsky wrote: Aux 88 is comming to my town, into a local festival lineup. I put together a mix of some tracks from aux and related, along with some detroit classics, in purpose to let the kids know the sound. It's gonna be online in the festival website, but it's here in advance. Comments are welcome. http://rapidshare.de/files/39204539/DJ_Kowalsky_- _Especial_Aux_88_.html Tracklist Aux 88 special: 01. Aux 88 - My A.U.X. Mind [Direct Beat] 02. Aux 88 - Technology [430 West] 03. Aux 88 - Electrotechno (DJ Dijital remix) [Direct Beat] 04. Aux 88 - Break It Down [Direct Beat] 05. X-ile - I Wanna (vocal mix) [Direct Beat] 06. Aux 88 - I Need To Freak (Microknox remix) [Direct Beat] 07. Microknox - Transmission [Direct Beat] 08. Will Web - Boomin' [Direct Beat] 09. Dijital - Telepathic [Direct Beat] 10. Aux 88 - Freak Beats [Direct Beat] 11. Keith Tucker - Face Your Fate [Puzzlebox] 12. Laurent Garnier - Crispy Bacon (Aux 88 remix) [F Communications] Some Detroit Classics: 13. A Number Of Names - Sharevari [Capriccio] 14. Cybotron - Clear [Fantasy] 15. Model 500 - Night Drive (Thru Babylon) [Metroplex] 16. Rhythim Is Rhythim - The Dance (Living Room mix) [Transmat] 17. Blake Baxter - Forever And A Day [Ten] 18. Model 500 - Future (vocal) [Metroplex] 19. Cybotron - Alleys Of Your Mind [Fantasy] 20. Juan - Techno Music [Ten] 21. Channel One - Technicolor [Metroplex] 22. Anthony Shake Shakir - Sequence 10 [Ten] 23. Rhythim Is Rhythim - Strings Of Life [Transmat] 24. Underground Resistance - The Final Frontier [UR] 25. Dopplereffekt - Speak And Spell [Gigolo] 26. Erik Travis - Tek Dance Music [Databass] 27. Detroit Grand Pubahs - Sandwiches [Throw] 28. Arpanet - Illuminated Displays [Record Makers] 29. Carl Craig - Mind Of A Machine (version) [Planet E] 30. Inner City - Big Fun [KMS] 31. Cybotron - Cosmic Car [Fantasy] 32. Rhythim Is Rhythim - It Is What It Is (Majestic mix) [Transmat] 33. Omar S - Track #8 [FXHE]
Re: (313) carl craig in the wire
"Why did you retitle it The Album Formerly Known As a few years back? No, that was Landcruising. I renamed that because I mixed it over again and I didn't feel that it should be called Landcruising 2006 or some sh1t like that. The Album Formerly Known As is a reference to one of my heroes. You know what. I'm assuming Prince." Damn, i always made this free association in my mind... now it became true! :-D Carl Craig is an admirable guy, a great mind, a great producer. I've said it here once: his works already have the same amplitude of the greatest works in american music. Kw On 29/04/2008, at 15:44, Matt Kane's Brain wrote: Philip Sherburne interviews Carl Craig: http://www.thewire.co.uk/articles/948 Sherburne puts records on and CC has to guess what it is, and then they talk about stuff, or something. -- matt kane's brain http://hydrogenproject.com aim -> mkbatwerk [EMAIL PROTECTED]
Re: (313) Scat (was And now, back to Detroit.......)
Well, me and a friend of mine, who is an anthropologist, Antônio Marcos Pereira, used to talk about the remote origins of black brazilian music, and black music in the americas as well. He has a lot of writings and articles about this. And he also knows a lot of other academic sources wich are beyond my readings. If you really wanna know about it, i can give you his email. Also, i read in a booklet of a Smithsonian compiled CD, containing some field recordings of Alan Lomax, about this happening in early american black music. Well, of course this heritage of the african languages are not the only one factor to influence scat singing. I think we have to consider the choir note and harmony verbalizations and intuitive rhythm aliterations as well. Kw On 28/04/2008, at 22:29, Frank Glazer wrote: On Mon, Apr 28, 2008 at 9:24 PM, Kowalsky <[EMAIL PROTECTED]> wrote: This article is interesting, but it gives no clue about why people started singing like this. Well, the most probable cause lies in the early black music brought by the diaspora to the americas, when black people from africa sung in their own native languages. When these languages were forgotten, people continued to sing emulating those sounds. do you have any academic source for this explanation? peace, frank dj mix archive: http://www.deejaycountzero.com
Re: (313) Scat (was And now, back to Detroit.......)
This article is interesting, but it gives no clue about why people started singing like this. Well, the most probable cause lies in the early black music brought by the diaspora to the americas, when black people from africa sung in their own native languages. When these languages were forgotten, people continued to sing emulating those sounds. I found very interesting to see how black music evolved analogically in the americas. We have an old form of spoken word music here, in brazil, called "repente" or "embolada", wich is very similar to rap or to jamaica's toasting. The same thing happened in different places without any direct contact or direct influence, back in the ol' days. Kw On 28/04/2008, at 19:17, Matt Kane's Brain wrote: On Apr 28, 2008, at 6:15 PM, /0 wrote: what does scat-ish mean? scat singing. http://en.wikipedia.org/wiki/Scat_singing -- matt kane's brain http://hydrogenproject.com aim -> mkbatwerk [EMAIL PROTECTED]
Re: (313) And now, back to Detroit.......
The "doop, doo-bee-doo" thing. On 28/04/2008, at 19:15, /0 wrote: what does scat-ish mean? surely not what I think it means(?) - Original Message - From: <[EMAIL PROTECTED]> To: "313 313" <313@hyperreal.org> Sent: Monday, April 28, 2008 12:56 PM Subject: (313) And now, back to Detroit... Got the new UR mixes of Nublu Orchestra- Sketches Of NYC thing in todayhm, very in-ter-es-ting. It's a bit disingenuous to call it a UR mix as it's Nomadico on one mix and Tunnel 7 on the other (Ray Werriweathers) but it's good stuff- the Nomadico mix wins it for me- spaced out jazz samples with a chuging off kilter beat and a throbing bassline combines with a scat-ish vocal makes it one for the more discerning dancefoor only- it's a strange release but growing on me slowly. There's more detroit-ness that I haven't seen any discussion of on the list but I'll save it until tomorrow! cheers Jason
Re: (313) Recalling that dubstepxtechno thread
Caspa and Rusko sit among the starters of this wave of angry bass and
of being hard and edgy, for the sake of itself, that i don't like
much. For me, they represent what Bad Company represented to drum n'
bass.
Although Burial did not walk on the footsteps of dubstep stylings,
his first EP, South London Bouroughs, was fundamental to shape the
dubstep to come, 3 years ago.
Kw
On 26/04/2008, at 12:54, darnistle wrote:
Unfortunately, "hard and edgy" seems seems to be the requirement
for dubstep now.
However, I would recommend Benga's new album on Tempa, which is not
stuck in the aforementioned rut! He actually changes up the styles,
rhythms and moods. The album is really fun to listen and dance to
and it veers close enough to 2Step
I just picked up the Caspa and Rusko mix (Fabriclive37) and it is
enjoyable, as long as I don't scrutinize the tracks too much. Good
to dance to, not necessarily to sit and listen to. In some ways it
has that raw, early rave feel, where the squeeches and squelches
manage to work in a mix, but the tracks themselves probably
wouldn't stand up if you had to listen to them in their entirety.
I would consider Burial dubstep. His first album was like 2Step
for Goths. His second album was like dubstep for haunted ravers.
He's soft and hard and edgy and turgid and moist and chill and so
much more...
I too have been "on dubstep's jock" (to quote Tom) somewhat lately,
in spite of myself.
{}0+>|
Nik Stoltzman wrote:
Silly me!
So what defines dubstep? Hard and edgy? Firm and moist? Turgid?
Burial isn't really dubstep - it's too wet and soft
Rob Taylor
VT Librarian
x8599
Hatch Desk x1088
VT Library Users' Guide
-Original Message-
From: Nik Stoltzman [mailto:[EMAIL PROTECTED]
Sent: 23 April 2008 16:19
To: Thomas D. Cox, Jr.
Cc: 313@hyperreal.org
Subject: Re: (313) Recalling that dubstepxtechno thread
Weren't you raving about the last Burial album a few months back?
Wouldn't people call that dubstep?. Not that it matters, I think.
When it comes to 'dubstep' I do not like it more or less than any
other
music - I just like good music. When you say you don't like
dubstep, do
you have a particular sound or artist in mind? Or do you
literally not
think much of a whole tranche of music much of which you won't have
heard? ;)
Personally, I can't get enough of Elemental & 3D - Blob at the
moment.
Love it.
N
i still cant be less impressed with dubstep. it annoys me to no end
how much people are on its jock.
tom
On Wed, Apr 23, 2008 at 10:56 AM, Mann, Ravinder
<[EMAIL PROTECTED]> wrote:
Aye, some dubstep seems to be going 4/4. See also releases on
Hessle
Audio. Here's a mix I've been enjoying recently . .
http://www.djdowee.com/dreamvol1/dowee-dreammix-march2008.mp3
1. likhan - uwill
2. pinch - 136 trek
3. likhan - terre
4. pangaea - nest
5. untold - test signal
6. appleblim & peverelist - circling 7. scuba - outmost 8.
peverelist - the grind 9. scuba - inmost 10. scuba - beta 11.
peverelist - erstwhile rhythm (forsaken remix) 12. 2562 -
circulate
13. benny ill vs. hatcha - poison 14. a made up sound - sleepwalk
15. 2562 - kameleon 16. pattie blingh - brother (2562 remix) 17.
2562 - channel two 18. ramadanman - carla 19. kode 9 vs.
badawi -
den of drumz 20. headhunter - locus lotus
Rav
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]
Sent: 23 April 2008 15:00
To: [313]
Cc: Kowalsky
Subject: Re: (313) Recalling that dubstepxtechno thread
dave huismans ole!
Kowalsky schreef:
> http://www.boomkat.com/item.cfm?id=93995
>
>
To view the terms under which this email is distributed,
please go
to http://disclaimer.leedsmet.ac.uk/email.htm
#
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) Recalling that dubstepxtechno thread
Yes, i agree with you about dubstep. I would not say this in a list
that's not very dubstep friendly, and i've already said this, for
sure, in the dubstep forums. In the dubstep forums i stand up to
other genres, like techno. :-)
The "this" i would not say, but i got to, is: the same downpath that
drum n' bass traced, dubstep is tracing right now. Producers with no
sensibility or no feeling are taking their 15 minutes of fame with
angry wo-wo-wo basslines and agressive drum rolls. The macho thing is
gonna create a paralysis.
But well... in other way of looking at things, dubstep is not only
dubstep. Drum n' bass was not only drum n' bass. Jungle was not only
jungle. You got to see this things all together as the urban music
from the uk. As a mutanting thing that keeps revolving. And all of
these styles, such as dubstep, they are not functionally made based
on drugs or drugs headspace. Drugs are all around, yes. But dubstep,
when it was born, and drum n' bass, when it was born, were much more
about pavement, the city, the boroughs, the crew, it's urban music.
They were connected directly to the beat shapped by and for the
"kids", the expression of a moment in urban culture and its musical
pulse. I don't know how things are moving right now – (recently,
there are was a big night with all dubstep main producers at ministry
of sound, in london...) – but there was no strobe light in dubstep
nights. No clubism, no search for escapim, as you can find in the
majority of trance related music and trance club scene.
What i see on the bright side is that the best contributions of
jungle, drum n' bass, grime, dubstep, they produce the seeds for the
uk urban music to show his freshness from time to time. I like to
look at the timeline and see how things evolved since first raves
untill now.
Kw
On 26/04/2008, at 12:15, darnistle wrote:
You don't need to be on drugs to appreciate psytrance, though the
music may "click" more if you've experienced the drugs and can
relate to the headspace the music comes from. Same is probably
true of any musical form that is closely linked to certain drugs
(dub and pot, gabber and speed, etc)
Personally, I loved psychedelic trance when it was goa and the
music was coming from an LSD and mushrooms headspace. As it
morphed into psytrance, the whole feel of the music changed and
lost much of what first caught my interest. Suomisaundi is really
the only style in that scene that still inspires me with its
musical abandon and sense of humor.
Dubstep seems to have gotten as staid and singular as psytrance
did. I loved the whole 2Step sound and like the early dubstep that
still showed its perky 2Step roots, but now much of the dubstep
I've heard is a dreary sludgefest and all too similar sounding.
This style of music could be so much more fun than most of it is.
Its like a macho-man mentality crept in and got rid of all the
bouncy and perky "girlie" aspects of 2Step to focus on being
harder, darker and skankier than the next guy.
I can't really think of that same mindset showing up in Detroit
techno. Perhaps my perspective is limited, but even when it is
very hard, dark and minimal I don't get the same "macho boys club"
feeling from Detroit techno. When I lived in Ann Arbor and clubbed
in Detroit, I didn't get that sense overall from the music I heard.
Is it just me, or has the Detroit techno scene managed to sidestep
the "macho boys club" musical mentality that seems to eventually
plague most other scenes?
{}0+>|
Frank Glazer wrote:
wha???
as a former psytrance dj who can still appreciate it to some extent
(shutup tom;) i fail to see any comparison at all between the two,
except perhaps that you really need to be on massive quantities of
drugs to "get" either one.
i hate dubstep though. i have a soft nostalgic spot in my heart for
psytrance, but god damn is it way too fast for me now, and it has
gotten much worse than it used to be, in general.
On Wed, Apr 23, 2008 at 1:59 PM, J.C. <[EMAIL PROTECTED]>
wrote:
It's the new Psytrance, remember.
Even with that as the case though, there have been SOME tracks
that have
moved me. MOST though. ;)
On 23 April 2008, Thomas D. Cox, Jr. wrote:
i still cant be less impressed with dubstep. it annoys me to no end
how much people are on its jock.
tom
--
San Francisco Bay Guardian's Readers Choice Award Winner: Best
Radio DJ:
http://www.sfbg.com/promo/pollpositions.php
AIM: jckzsu (or kzsudj during my show.)
"Opinions are my own only, and do not necessarily represent
those of
KZSU Radio or Stanford University." (or words to that effect.)
Re: (313) Aux 88 special + some detroit classics
Thanks. :) I don't if it's gonna be podcasted. But it will be on the festival's site somehow. Kw On 24/04/2008, at 01:33, J.C. wrote: Good stuff. Classic sound. Already tipped off some other folks. ;) Is the "special" going to be podcast/broadcast or something? On 24 April 2008, Kowalsky wrote: Thanks a lot for the tip! Hope you like the mix. Kw On 23/04/2008, at 16:24, J.C. wrote: Pt. divshare.com has a 200MB max file size. And, if you have your own web page, you can embed a direct player link on your page. :) Will be checking out your mix shortly BTW! Thanks. On 23 April 2008, Kowalsky wrote: Thanks for downloading it! Rapidshare is a pain in the ass about these limits. But it's the only free hoster i could find that takes files larger than 100 mb. I guess you gotta wait sometime and download it again. Sorry about that. -- San Francisco Bay Guardian's Readers Choice Award Winner: Best Radio DJ: http://www.sfbg.com/promo/pollpositions.php AIM: jckzsu (or kzsudj during my show.) "Opinions are my own only, and do not necessarily represent those of KZSU Radio or Stanford University." (or words to that effect.) -- San Francisco Bay Guardian's Readers Choice Award Winner: Best Radio DJ: http://www.sfbg.com/promo/pollpositions.php AIM: jckzsu (or kzsudj during my show.) "Opinions are my own only, and do not necessarily represent those of KZSU Radio or Stanford University." (or words to that effect.)
Re: (313) Recalling that dubstepxtechno thread
It has more a garage shaped beat than a half tempo dubstep beat. But it's a styles crossover, anyway. Kw On 24/04/2008, at 01:00, Frank Glazer wrote: this doesn't sound anything at all like the dubstep that i've heard. sounds like techno to me. and i like it. 2008/4/23 Kowalsky <[EMAIL PROTECTED]>: http://www.boomkat.com/item.cfm?id=93995 -- peace, frank dj mix archive: http://www.deejaycountzero.com
Re: (313) Recalling that dubstepxtechno thread
Psytrance raves, here, are megaevents attended by the average high school bunch. Kw On 23/04/2008, at 16:34, Frank Glazer wrote: Brasil must be a very interesting place if the average public listens to psytrance and psytrance is considered mainstream. Granted, psytrance has changed a lot since 99-2001 when i was into it, but i still can't imagine it being mainstream. On Wed, Apr 23, 2008 at 3:31 PM, Kowalsky <[EMAIL PROTECTED]> wrote: Still disagree. The dubstep public has got nothing to do with the psytrance public. The psytrance public is the average public that receives information only thru mainstream "channels". The public is that guy who wants to go to a crazy rave, to a crowded place with frenetic music going on. At least here, in Brasil, and, as far as i know, in Europe and US too. On 23/04/2008, at 15:56, J.C. wrote: Referring to the fan base when I put that out there. :) Must not be as obvious in some communities as it is on the west coast. On 23 April 2008, Kowalsky wrote: Dubstep is the new psytrance? I mean: ??? On 23/04/2008, at 14:59, J.C. wrote: It's the new Psytrance, remember. -- San Francisco Bay Guardian's Readers Choice Award Winner: Best Radio DJ: http://www.sfbg.com/promo/pollpositions.php AIM: jckzsu (or kzsudj during my show.) "Opinions are my own only, and do not necessarily represent those of KZSU Radio or Stanford University." (or words to that effect.) -- peace, frank dj mix archive: http://www.deejaycountzero.com
Re: (313) Aux 88 special + some detroit classics
That's so kind, thank you. But the thing is the mix will be hosted by the festival's website. I uploaded it to rapidshare just to post in advance in the list. Kw On 23/04/2008, at 18:06, The Archiver wrote: I've plenty of hosting space, I can host it if you want me to... The Archiver Thanks for downloading it! Rapidshare is a pain in the ass about these limits. But it's the only free hoster i could find that takes files larger than 100 mb. I guess you gotta wait sometime and download it again. Sorry about that. On 23/04/2008, at 15:31, Andrew Duke wrote: Kowalsky wrote: Aux 88 is comming to my town, into a local festival lineup. I put together a mix of some tracks from aux and related, along with some detroit classics, in purpose to let the kids know the sound. It's gonna be online in the festival website, but it's here in advance. Comments are welcome. http://rapidshare.de/files/39204539/DJ_Kowalsky_- _Especial_Aux_88_.html Tracklist Aux 88 special: 01. Aux 88 - My A.U.X. Mind [Direct Beat] 02. Aux 88 - Technology [430 West] 03. Aux 88 - Electrotechno (DJ Dijital remix) [Direct Beat] 04. Aux 88 - Break It Down [Direct Beat] 05. X-ile - I Wanna (vocal mix) [Direct Beat] 06. Aux 88 - I Need To Freak (Microknox remix) [Direct Beat] 07. Microknox - Transmission [Direct Beat] 08. Will Web - Boomin' [Direct Beat] 09. Dijital - Telepathic [Direct Beat] 10. Aux 88 - Freak Beats [Direct Beat] 11. Keith Tucker - Face Your Fate [Puzzlebox] 12. Laurent Garnier - Crispy Bacon (Aux 88 remix) [F Communications] Some Detroit Classics: 13. A Number Of Names - Sharevari [Capriccio] 14. Cybotron - Clear [Fantasy] 15. Model 500 - Night Drive (Thru Babylon) [Metroplex] 16. Rhythim Is Rhythim - The Dance (Living Room mix) [Transmat] 17. Blake Baxter - Forever And A Day [Ten] 18. Model 500 - Future (vocal) [Metroplex] 19. Cybotron - Alleys Of Your Mind [Fantasy] 20. Juan - Techno Music [Ten] 21. Channel One - Technicolor [Metroplex] 22. Anthony Shake Shakir - Sequence 10 [Ten] 23. Rhythim Is Rhythim - Strings Of Life [Transmat] 24. Underground Resistance - The Final Frontier [UR] 25. Dopplereffekt - Speak And Spell [Gigolo] 26. Erik Travis - Tek Dance Music [Databass] 27. Detroit Grand Pubahs - Sandwiches [Throw] 28. Arpanet - Illuminated Displays [Record Makers] 29. Carl Craig - Mind Of A Machine (version) [Planet E] 30. Inner City - Big Fun [KMS] 31. Cybotron - Cosmic Car [Fantasy] 32. Rhythim Is Rhythim - It Is What It Is (Majestic mix) [Transmat] 33. Omar S - Track #8 [FXHE] Kowalsky: Thanks for posting. Unfortunately, I tried to download this as soon as I saw your post and it stopped downloading about halfway through. Just tried again and it says it has reached the download limit :( Andrew -- Andrew Duke--sound design/recording/composition/production courses: http://andrew-duke.com/course.html Andrew Duke--Chain Reaction downloadable sound FX samplepack: http://www.audiobase.com/product/SACR Andrew Duke--Consumer vs. User album: http://www.phthalo.com/cat.php?cat=phth40 Andrew Duke--columns/features/commentaries/more: http://cognitionaudioworks.com/read.html http://linkedin.com/in/AndrewDukeCognitionAudioworks http://www.facebook.com/people/Andrew_Duke/852160229 http://myspace.com/AndrewDuke http://myspace.com/CognitionAudioworks
Re: (313) Aux 88 special + some detroit classics
Thanks a lot for the tip! Hope you like the mix. Kw On 23/04/2008, at 16:24, J.C. wrote: Pt. divshare.com has a 200MB max file size. And, if you have your own web page, you can embed a direct player link on your page. :) Will be checking out your mix shortly BTW! Thanks. On 23 April 2008, Kowalsky wrote: Thanks for downloading it! Rapidshare is a pain in the ass about these limits. But it's the only free hoster i could find that takes files larger than 100 mb. I guess you gotta wait sometime and download it again. Sorry about that. -- San Francisco Bay Guardian's Readers Choice Award Winner: Best Radio DJ: http://www.sfbg.com/promo/pollpositions.php AIM: jckzsu (or kzsudj during my show.) "Opinions are my own only, and do not necessarily represent those of KZSU Radio or Stanford University." (or words to that effect.)
Re: (313) Recalling that dubstepxtechno thread
Still disagree. The dubstep public has got nothing to do with the psytrance public. The psytrance public is the average public that receives information only thru mainstream "channels". The public is that guy who wants to go to a crazy rave, to a crowded place with frenetic music going on. At least here, in Brasil, and, as far as i know, in Europe and US too. On 23/04/2008, at 15:56, J.C. wrote: Referring to the fan base when I put that out there. :) Must not be as obvious in some communities as it is on the west coast. On 23 April 2008, Kowalsky wrote: Dubstep is the new psytrance? I mean: ??? On 23/04/2008, at 14:59, J.C. wrote: It's the new Psytrance, remember. -- San Francisco Bay Guardian's Readers Choice Award Winner: Best Radio DJ: http://www.sfbg.com/promo/pollpositions.php AIM: jckzsu (or kzsudj during my show.) "Opinions are my own only, and do not necessarily represent those of KZSU Radio or Stanford University." (or words to that effect.)
Re: (313) Aux 88 special + some detroit classics
Thanks for downloading it! Rapidshare is a pain in the ass about these limits. But it's the only free hoster i could find that takes files larger than 100 mb. I guess you gotta wait sometime and download it again. Sorry about that. On 23/04/2008, at 15:31, Andrew Duke wrote: Kowalsky wrote: Aux 88 is comming to my town, into a local festival lineup. I put together a mix of some tracks from aux and related, along with some detroit classics, in purpose to let the kids know the sound. It's gonna be online in the festival website, but it's here in advance. Comments are welcome. http://rapidshare.de/files/39204539/DJ_Kowalsky_- _Especial_Aux_88_.html Tracklist Aux 88 special: 01. Aux 88 - My A.U.X. Mind [Direct Beat] 02. Aux 88 - Technology [430 West] 03. Aux 88 - Electrotechno (DJ Dijital remix) [Direct Beat] 04. Aux 88 - Break It Down [Direct Beat] 05. X-ile - I Wanna (vocal mix) [Direct Beat] 06. Aux 88 - I Need To Freak (Microknox remix) [Direct Beat] 07. Microknox - Transmission [Direct Beat] 08. Will Web - Boomin' [Direct Beat] 09. Dijital - Telepathic [Direct Beat] 10. Aux 88 - Freak Beats [Direct Beat] 11. Keith Tucker - Face Your Fate [Puzzlebox] 12. Laurent Garnier - Crispy Bacon (Aux 88 remix) [F Communications] Some Detroit Classics: 13. A Number Of Names - Sharevari [Capriccio] 14. Cybotron - Clear [Fantasy] 15. Model 500 - Night Drive (Thru Babylon) [Metroplex] 16. Rhythim Is Rhythim - The Dance (Living Room mix) [Transmat] 17. Blake Baxter - Forever And A Day [Ten] 18. Model 500 - Future (vocal) [Metroplex] 19. Cybotron - Alleys Of Your Mind [Fantasy] 20. Juan - Techno Music [Ten] 21. Channel One - Technicolor [Metroplex] 22. Anthony Shake Shakir - Sequence 10 [Ten] 23. Rhythim Is Rhythim - Strings Of Life [Transmat] 24. Underground Resistance - The Final Frontier [UR] 25. Dopplereffekt - Speak And Spell [Gigolo] 26. Erik Travis - Tek Dance Music [Databass] 27. Detroit Grand Pubahs - Sandwiches [Throw] 28. Arpanet - Illuminated Displays [Record Makers] 29. Carl Craig - Mind Of A Machine (version) [Planet E] 30. Inner City - Big Fun [KMS] 31. Cybotron - Cosmic Car [Fantasy] 32. Rhythim Is Rhythim - It Is What It Is (Majestic mix) [Transmat] 33. Omar S - Track #8 [FXHE] Kowalsky: Thanks for posting. Unfortunately, I tried to download this as soon as I saw your post and it stopped downloading about halfway through. Just tried again and it says it has reached the download limit :( Andrew -- Andrew Duke--sound design/recording/composition/production courses: http://andrew-duke.com/course.html Andrew Duke--Chain Reaction downloadable sound FX samplepack: http://www.audiobase.com/product/SACR Andrew Duke--Consumer vs. User album: http://www.phthalo.com/cat.php?cat=phth40 Andrew Duke--columns/features/commentaries/more: http://cognitionaudioworks.com/read.html http://linkedin.com/in/AndrewDukeCognitionAudioworks http://www.facebook.com/people/Andrew_Duke/852160229 http://myspace.com/AndrewDuke http://myspace.com/CognitionAudioworks
Re: (313) Recalling that dubstepxtechno thread
Dubstep is the new psytrance? I mean: ??? On 23/04/2008, at 14:59, J.C. wrote: It's the new Psytrance, remember. Even with that as the case though, there have been SOME tracks that have moved me. MOST though. ;) On 23 April 2008, Thomas D. Cox, Jr. wrote: i still cant be less impressed with dubstep. it annoys me to no end how much people are on its jock. tom -- San Francisco Bay Guardian's Readers Choice Award Winner: Best Radio DJ: http://www.sfbg.com/promo/pollpositions.php AIM: jckzsu (or kzsudj during my show.) "Opinions are my own only, and do not necessarily represent those of KZSU Radio or Stanford University." (or words to that effect.)
Re: (313) Recalling that dubstepxtechno thread
You mean what i expect a record store to say? I expect they do what they do, they wanna sell records and make the hype lovers believe they're really into something. But that's annoying. I wouldn't do like that if i had a record shop. Guess i would be a bad record seller. :) On 23/04/2008, at 13:18, Martin Dust wrote: On 23 Apr 2008, at 17:16, Kowalsky wrote: I agree about boomkat. Their reviews are awful. Everything is wonderful, essential. Everything is limited. They love to hype over unknown artists releases and speculate it's an aphex twin release if it has the word "window" on the title. Ridiculous. Out of interest, what do you expect them to say? This release is sh1t ;) m
(313) Aux 88 special + some detroit classics
Aux 88 is comming to my town, into a local festival lineup. I put together a mix of some tracks from aux and related, along with some detroit classics, in purpose to let the kids know the sound. It's gonna be online in the festival website, but it's here in advance. Comments are welcome. http://rapidshare.de/files/39204539/DJ_Kowalsky_-_Especial_Aux_88_.html Tracklist Aux 88 special: 01. Aux 88 - My A.U.X. Mind [Direct Beat] 02. Aux 88 - Technology [430 West] 03. Aux 88 - Electrotechno (DJ Dijital remix) [Direct Beat] 04. Aux 88 - Break It Down [Direct Beat] 05. X-ile - I Wanna (vocal mix) [Direct Beat] 06. Aux 88 - I Need To Freak (Microknox remix) [Direct Beat] 07. Microknox - Transmission [Direct Beat] 08. Will Web - Boomin' [Direct Beat] 09. Dijital - Telepathic [Direct Beat] 10. Aux 88 - Freak Beats [Direct Beat] 11. Keith Tucker - Face Your Fate [Puzzlebox] 12. Laurent Garnier - Crispy Bacon (Aux 88 remix) [F Communications] Some Detroit Classics: 13. A Number Of Names - Sharevari [Capriccio] 14. Cybotron - Clear [Fantasy] 15. Model 500 - Night Drive (Thru Babylon) [Metroplex] 16. Rhythim Is Rhythim - The Dance (Living Room mix) [Transmat] 17. Blake Baxter - Forever And A Day [Ten] 18. Model 500 - Future (vocal) [Metroplex] 19. Cybotron - Alleys Of Your Mind [Fantasy] 20. Juan - Techno Music [Ten] 21. Channel One - Technicolor [Metroplex] 22. Anthony Shake Shakir - Sequence 10 [Ten] 23. Rhythim Is Rhythim - Strings Of Life [Transmat] 24. Underground Resistance - The Final Frontier [UR] 25. Dopplereffekt - Speak And Spell [Gigolo] 26. Erik Travis - Tek Dance Music [Databass] 27. Detroit Grand Pubahs - Sandwiches [Throw] 28. Arpanet - Illuminated Displays [Record Makers] 29. Carl Craig - Mind Of A Machine (version) [Planet E] 30. Inner City - Big Fun [KMS] 31. Cybotron - Cosmic Car [Fantasy] 32. Rhythim Is Rhythim - It Is What It Is (Majestic mix) [Transmat] 33. Omar S - Track #8 [FXHE]
Re: (313) Recalling that dubstepxtechno thread
I agree about boomkat. Their reviews are awful. Everything is wonderful, essential. Everything is limited. They love to hype over unknown artists releases and speculate it's an aphex twin release if it has the word "window" on the title. Ridiculous. On 23/04/2008, at 12:31, Toby Frith wrote: I would suspect that once the likes of the Wire and Boomkat-deriven shops stop enthusing over it so wildly and let it run its course, the genre might actually become interesting, because it doesn't really deserve the fawning it receives right now. That's not to say there's nothing good in the genre, but the slavish drivel that is written about it by some people about it just puts me off. -Original Message- From: Thomas D. Cox, Jr. [mailto:[EMAIL PROTECTED] Sent: 23 April 2008 16:25 To: 313@hyperreal.org Subject: Re: (313) Recalling that dubstepxtechno thread On Wed, Apr 23, 2008 at 11:18 AM, Nik Stoltzman <[EMAIL PROTECTED]> wrote: Weren't you raving about the last Burial album a few months back? Wouldn't people call that dubstep?. Not that it matters, I think. nah, that is 2-step. it really has no connection in beat patterns, sound pallette, or feel to anything in the dubstep genre, it shares many of those things with 2-step records though. When it comes to 'dubstep' I do not like it more or less than any other music - I just like good music. When you say you don't like dubstep, do you have a particular sound or artist in mind? Or do you literally not think much of a whole tranche of music much of which you won't have heard? ;) i like exactly none of it. most of it is either too angry, too boring, or just ridiculous sounding. i guess i dont mind the original "blood on my hands" by shackleton but its not good enough that i went out and bought it. and that is only one track! tom For all the latest news and comment visit www.telegraph.co.uk. This message, its contents and any attachments to it are private, confidential and may be the subject of legal privilege. Any unauthorised disclosure, use or dissemination of the whole or part of this message (without our prior written consent) is prohibited. If you are not the intended recipient, please notify us immediately. Incoming and outgoing telephone calls to our offices may be monitored or recorded for training and quality control purposes and for confirming orders and information. Telegraph Media Group Limited is a limited liability company registered in England and Wales (company number 451593). Our registered office address is: 111 Buckingham Palace Road, London, SW1W 0DT.
Re: (313) 20 ans rex club
I still can't help myself loving phylypstrack like it's the first time i listen to this track. On 23/04/2008, at 10:23, kent williams wrote: Holy crap they have a good lineup going for the last half of May! I would love an entire evening of Basic Channel! 2008/4/23 [EMAIL PROTECTED] <[EMAIL PROTECTED]>: http://www.rexclub.com/20ans/
(313) Recalling that dubstepxtechno thread
http://www.boomkat.com/item.cfm?id=93995
Re: (313) 4 more Movement acts
Damn... Sonar gotta book only Barcelona native artists, from now on. On 22/04/2008, at 19:24, /0 wrote: its MOVEMENT: DETROIT'S ELECTRONIC MUSIC FESTIVAL if you dont understand what that means, you can't read and should unsub. nothing in that name insinuates a festival of detroit electronic music, but rather an electronic music festival in, and belonging to detroit. - Original Message - From: <[EMAIL PROTECTED]> To: "/0" <[EMAIL PROTECTED]> Cc: <313@hyperreal.org> Sent: Tuesday, April 22, 2008 10:43 AM Subject: Re: (313) 4 more Movement acts Well, the mistake is actually in calling it DEMF. It's not DEMF - it's Movement. Time for a paradigm shift. That's the biggest reason I see people getting upset about "well, the first years were more Detroit" The first years - meaning THE Detroit Electronic Music Festival (Pop Culture's production) WAS a celebration of Detroit's electronic music. What's going on now is a different festival called "Movement". People are fooling themselves into thinking it's THE DEMF because it occupies the same date and space as the other festivals. There hasn't been any inheritance imo. THE DEMF stopped in 2003. That was the last year of The Detroit Electronic Music Festival. End of story. All the other festivals that have followed are officially titled by other names. for once I gotta agree with r3dshift - it's time to stop comparing Paxahau's Movement to The Detroit Electronic Music Festival (DEMF) if you continue to compare them you might as well compare the Hoe Down or the Jazz Fest to DEMF as well DEMF is... er, was, a celebration of Detroit Techno Movement isn't it's just another electronic music festival that just so happens to take place in Detroit because that's where the production company is located and there's a space available at this point - Movement could feasibly, well, move - to any other city and it would make about as much sense as it does now if you shift your thoughts and start to see Movement as "Movement" and not "DEMF" or THE DEMF you might possibly, like me, begin to not really be bothered by it Movement has not inherited the legacy of DEMF MEK "/0" <[EMAIL PROTECTED]> wrote on 04/21/2008 05:57:31 PM: 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 - Original Message - From: "Fred Heutte" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]> Cc: <313@hyperreal.org> Sent: Monday, April 21, 2008 7:06 PM Subject: Re: (313) 4 more Movement acts > > Mark Farina > > Lawnchair Generals > > Miles Maeda > > Punisher > >/ > > good god - for every one good act they add three crap ones I don't have a problem with any of those. I've known Mark since 1992, haven't seen MM but like some of his, and I have a pretty high regard for some of the LG output, which is made of sterner stuff than most west coast house these days. And of course Punisher has always been good when I've seen her, and remember she stood well above the relentless mediocrity at the underground stage one year. My bigger problem is the continuing de-focus on Detroit in the lineup. Yes, there are some Detroit area artists on the list, and good for them, but overall it just doesn't have the breadth and depth it should given who's within local driving distance of the festival. And this isn't just conjecture about what it could be, it's about what it was when you go back and look at the first couple of years. fh
Re: (313) Online ecord stores
That's really a shame about US online stores. I did not know the situation were so like this... well, bad. Another thing i do, from time to time, is buy records thru discogs or gemm from american not online stores, i mean, stores and dudes that end up selling online, but they had no proper site or a online selling system. This case applies to no so new releases and you gotta trust the person. I never had any trouble though, luckly. Kw On 20/04/2008, at 14:21, theREALmxyzptlk wrote: A-men. For a while after I first retired from GM (and hadn't appropriately adjusted my outgo with my income), I ordered several boxes from Hardwax and a few from Clone and RH, but as I have to make do on blazing the college adjunct trail these days, I can rarely afford anything I have to import. I look at the new releases on their sites and drool. More than anything, I subsist on pay-for downloads from Bleep (when something lands there I want), sometimes Beatport, or even Boomkat. Cool or not, I want to listen and slsk just doesn't cover the economic bases for the artists. I live just outside of the D, and it's tough getting Detroity things HERE for Pete's sake. You can't blame the artists for shipping the wax where it fetches the bacon, but it's a sad state when one has to import the music made around the corner. The real b*tch for me about FE is playing the guessing game concerning whether or not they'll have any of the latest holy grail. So many times after I have bit the bullet and imported, I've seen them offer whatever it is I sold my soul to have mailed from across the pond. The next time I gamble on them, I find all copies went abroad. I've gone back and forth on hoarding vinyl (well, not really *hoarding*...), and while I'd much rather own a RECORD than a file, these days I don't have much choice and I'm thankful when I can find someone who sells what I want digitally. jeff i want so badly to support rush hour, hardwax and clone, but their shipping and total cost per record is just...
Re: (313) Online ecord stores
There are a few stores in São Pulo, and still less stores in Rio. But they're expensive, with very limited number of titles, covering only the releases wich will please the average day-to-day club dj. Kw On 20/04/2008, at 11:39, JT Stewart wrote: 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
Juno always worked fine for me. They have a pretty decent site, large stock, lots of audio samples, wishlists, and fast shipping. In one order i placed, the package didn't arrive. They made no further questions about it and just gave me store credit right away. Really amazing. I think they must be the best online store when you put all factors in balance. kw On 20/04/2008, at 12:48, Thomas D. Cox, Jr. wrote: On Sun, Apr 20, 2008 at 10:39 AM, JT Stewart <[EMAIL PROTECTED]> wrote: then i go rush hour for the 80% of my wantlist that doesn't get any american distribution blargh i want so badly to support rush hour, hardwax and clone, but their shipping and total cost per record is just so much more expensive than Juno. i kind of hate juno, but ordering from them can be like 40% cheaper. tom
Re: (313) Online ecord stores
Tell me more about this PBE thing... Thanks Kw On 19/04/2008, at 08:41, theREALmxyzptlk 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) Online ecord stores
Well, i don't live in Europe, i live in Brazil. I'll check dancerecords.com out. I tried to buy from submerge, once... didn't succeeded. They simply ignored my orders and e-mails. Thanks, JT On 19/04/2008, at 16:09, JT Stewart 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.
Re: (313) Online ecord stores
Thanks Jeffrey, will check em out. On 19/04/2008, at 03:04, Jeffrey Richards wrote: These are a few I have run in to along the way. Some are great and have what is listed on the website. Bent Crayon has only once had something that I ordered. gramaphonerecords.com calsound.com dopejams.net bentcrayon.com waxaddict.com drfreeclouds.com unrec.com mierecords.com jigsawrecords.com --- Michael Kuszynski <[EMAIL PROTECTED]> wrote: forced exposure. great experience every time. email them to make sure what you want is available, especially if it is slighty more uncommon. On 4/18/08, Thomas D. Cox, Jr. <[EMAIL PROTECTED]> wrote: On Fri, Apr 18, 2008 at 9:04 PM, Kowalsky <[EMAIL PROTECTED]> wrote: People, i'm in a mood of refreshing my roster of online record stores in the US. Can you point some good ones? The store must ship internationally, must be fast and eficient in replying mail and in shipping, must have a good catalog of classics and new releases and must have a decent site interface with audio samples. if youre outside the US, why would you need to order from the US? pretty much anywhere else has much better selection, especially for detroit related records. tom -- --- Michael Kuszynski [EMAIL PROTECTED] [EMAIL PROTECTED] http://www.planerecordings.com New York, NY __ __ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http:// mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ
Re: (313) Online ecord stores
I've already bought from them. The first time was fine. The second time, my package didn't arrive, and it took over six months for them to resend the order, after tons of e-mail. That kinda put me down. On 19/04/2008, at 01:29, Michael Kuszynski wrote: forced exposure. great experience every time. email them to make sure what you want is available, especially if it is slighty more uncommon. On 4/18/08, Thomas D. Cox, Jr. <[EMAIL PROTECTED]> wrote: On Fri, Apr 18, 2008 at 9:04 PM, Kowalsky <[EMAIL PROTECTED]> wrote: People, i'm in a mood of refreshing my roster of online record stores in the US. Can you point some good ones? The store must ship internationally, must be fast and eficient in replying mail and in shipping, must have a good catalog of classics and new releases and must have a decent site interface with audio samples. if youre outside the US, why would you need to order from the US? pretty much anywhere else has much better selection, especially for detroit related records. tom -- --- Michael Kuszynski [EMAIL PROTECTED] [EMAIL PROTECTED] http://www.planerecordings.com New York, NY
Re: (313) Online ecord stores
I live in Brazil, and the currency exchange is very low right now. 1 dollar for 1,6 reais. I buy from european stores already, specially from Juno, my long time favourite store. But, well, i'm looking for buying in dollars rather than in sterling pounds right now. On 18/04/2008, at 23:26, Thomas D. Cox, Jr. wrote: On Fri, Apr 18, 2008 at 9:04 PM, Kowalsky <[EMAIL PROTECTED]> wrote: People, i'm in a mood of refreshing my roster of online record stores in the US. Can you point some good ones? The store must ship internationally, must be fast and eficient in replying mail and in shipping, must have a good catalog of classics and new releases and must have a decent site interface with audio samples. if youre outside the US, why would you need to order from the US? pretty much anywhere else has much better selection, especially for detroit related records. tom
Re: (313) Online ecord stores
turntablelab has a nice selection in terms of hip-hop and represses. But their shipping is too expensive. Only thru UPS. And that carries a problem when it comes to custom taxes in Brazil. Courier companies always pay the taxes, ordinary mail, sometimes, pass thru the filter with no taxes at all. On 19/04/2008, at 17:08, Frank Glazer 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
(313) Online ecord stores
People, i'm in a mood of refreshing my roster of online record stores in the US. Can you point some good ones? The store must ship internationally, must be fast and eficient in replying mail and in shipping, must have a good catalog of classics and new releases and must have a decent site interface with audio samples. Thank y'all in advance. Kw
Re: (313) Your last best detroit track
I love UR, specially Final Frontier, one of the tracks of my life But i have to admit that they, sometimes, pitch to some kind of cheesy naive-melodic area wich i don't like much. But... they always it with an admirable conviction, with guts. And that's a strong point for me. They don't try to be trendy-melodic, or chic, or "cool". That's one of the reasons why i don't like andy stott that much, for example. And i tried to. He made some nice tunes, yes, but most of the time he sounds too chic, too contained, too blasé. His music makes me picture myself as guy who doesn't drink and uses a black turtleneck with black thick-framed prada glasses... if you know what i mean. But, well... just my impressions. Respect to UR and to Andy Stott. On 16/04/2008, at 11:41, Thomas D. Cox, Jr. wrote: On Wed, Apr 16, 2008 at 10:33 AM, Michael Kuszynski <[EMAIL PROTECTED]> wrote: other than entertainment value of kill my radio station, i am unsure about this release. it almost feels like it was done with a rock drum kit in the sense of how quote quote raw it sounds, but raw does not necessarily mean killer. as much as ur are the finest in electronic music at many times, i think i just must not get it when some of the releases are significantly not inspired. not sure if i an setting myself up for slaughter posting so on this list, but i think i am not the only one who thinks that not every single release of theirs is the finest record ever. i love how when they do the more conventional melodic UR sound, they get criticized for sounding the same, and then when they try different things, they get criticized for that too. i think that even the weaker URs are more interesting than 95% of records released. tom
Re: (313) Plain text please, G-Mailers
I use gmail since day 1. But, quite a long time ago, i tried do subscribe to 313 using my gmail. Didn't work out. Guess 313 didn't accept any free mail service at that time. Kw On 14/04/2008, at 20:30, Thomas D. Cox, Jr. wrote: On Mon, Apr 14, 2008 at 5:08 PM, Thor Teague <[EMAIL PROTECTED]> wrote: Well, it's free, and reading 313 in gmail thread format is superior by far to both digest and individual messages. I don't know if gmail's still going by invite, but I have 99 if anyone wants one. I am a big advocate of reading 313 in gmail, personally. i cant imagine why anyone would use anything other than gmail at this point. its better than all other freemails, and its better than the stuff hosted by peoples' own domains as well. with gmail chat and reader all part of it, its the bomb. tom
Re: (313) Recording DJ sets
For me, the quality of the encoder is far more important than bitrate. And, i don't think i'm able able to judge what fidelity really is, because it can be subjective, sometimes. That's why a distorded or clipped kick drum doesn't bother me at all if i like the tune – as far as i know, the artist decided it would be that way. But i agree with you. When someone gets too obsessive about the minimal details of sound fidelity, the main thing, the expression and the creativity, does not show up. I got this uncle, who claims to be a music lover. He buys shitloads of audiophyle equipments and listen to things like Toto and Kenny G. High fidelity does not make history. Remarkable music does. Kw On 11/04/2008, at 13:46, Thor Teague wrote: Tread lightly on this subject... the technical stuff matters. (don't get me wrong you're not doing badly.) I have been engineering audio for several years now and every year I get less tolerant of mediocre sound fidelity. I've long since deleted all my mp3's that are 128kbps (<192 sounds simply terrible to me) and avoid downloading anything lower than c.256 unless there's a specific reason to (something a friend did, something I need for work or whatever, etc.) Any mp3's I encode now are at 320. I now regret recording my record collection at 192 early on, because I did a lot of records at 192 and now I want to go back and redo them at 320. I don't know. Poor fidelity just bothers me--it's almost worse when it's something I should be enjoying but it's ruined by poor engineering, or excessive compression (file or level, as the case may be), etc. Like if the art itself was crappy it would just be like, "oh, whatever..." move on. The creative aspects take a backseat as far as some people (like myself) are concerned when the artist blows it technically. Anyway, your mileage may vary on all these views but this is how I feel about audio (same basic thing is true of video) these days. Poor fidelity really detracts something from the intended experience, and if it could have been special that's frustrating as hell for me. On Fri, Apr 11, 2008 at 11:11 AM, Frank Glazer <[EMAIL PROTECTED]> wrote: The mix isn't half bad either. :) which, imho, is the more important part. they're just promotional mixes, after all. if i ever get to the point where i am releasing an album, or something, sure, i'd love to have the luxury of much better sound. for now, for dj promos that are dubiously legal to begin with, i think i can live with the imperfections.
Re: (313) Mixing media...
That sounds like Rick Wakeman djing! :-) Too many gear around... I rather keep things simple. Jokes apart, i'm in a dilema about this: going digital without abandonning my records. On 11/04/2008, at 14:10, T63 wrote: Just a thought... Instead of creating a digital vs. analog/vinyl method of mixing, why not mix both? My mixer has 4 channels, why not use one for a PC and have 2 or 3 turntables, if you can do that, at the same time? You have your entire library and can still mix and scratch vinyl (not Serato) Honor your history, don't fear the future Seems like a win-win.. travel with a small record bag and your digital library. Makes traveling more practical as well. Bueller? -peace, terry
Re: (313) Booooooo!!!!!
It was a good idea to throw the wrecked 10 kilos deck over his head. Or shoot the plate at his neck, like a freesbie. :-P Kw On 11/04/2008, at 13:36, Tristan Watkins wrote: I was DJing at a house party when a totally wrecked raver came up and ripped the tonearm off one of the decks. The one with the record that was playing. And oddly it seemed like he did it because he liked it, rather than some fit of trance rage or something. He was promptly Taken Out Back and Beaten (to borrow a TomCoxism). Luckily there were three decks so I was able to keep going! Tristan === [EMAIL PROTECTED] http://www.phonopsia.co.uk
Re: (313) Booooooo!!!!!
I've already had a guy trying to buy a beer from me too. Or trying the pay the bill when leaving. Guys and girls asking me to play some dance remix of a celine dion song, that's usual. But, what happens when you pretend you're not listening, and the guy slaps your tonearm? I was happy this day, the security guy was just behind him. Club security thugs can be pretty rough. :) Kw On 11/04/2008, at 13:22, Paul Kendrick wrote: I saw a very similar incident with Derrick May djing years ago, when he turned round this guy was going through his record box and DM hit him over the head with the record he had just taken off the deckvery funny.. -Original Message- From: Kowalsky [mailto:[EMAIL PROTECTED] Sent: 11 April 2008 17:04 To: [313] Subject: Re: (313) Booo! One day, in a club, when i turned back to get the next record and put the one i just pulled off in the sleeve, there was thus GUY, browsing my records like he was in a record store! And he didn't bother at all i was starring at him and tapping his shoulder. He was like doing the most natural thing in the world, like he was choosing a record he wanted me to play. If i tell all the surreal stories about djing in this club, you wouldn't believe me. The club is not a ver well equiped one, with a tight spot they call a booth, so the stand for the decks was mounted in a little stage right in the front of the crowd. Pretty good energy, though. :) Kw On 11/04/2008, at 12:02, [EMAIL PROTECTED] wrote: What I'm wondering is - do these people go out to the club with the intention of stealing records/drives/needles? Is is a crazy moment of "I wonder if I could?" or is it some kind of klepto force from within that suddenly takes someone over and they're compelled to do it? It's interesting that the photographer didn't catch it in any shots - means the person was watching which leads me to think this was not some spur of the moment thing but a someone looking for some gear to fence MEK "KiDD*e" <[EMAIL PROTECTED]> wrote on 04/11/2008 09:51:47 AM: It has already happen... I remember at the Rex Club being told to keep the sliding window closed because the week before someone quietly stole the free turntable's needle while the DJ was plunged in his flycase looking for the next record. I was like HUH!, totally stunned! And i can't even imagined the DJ's reaction when it happened... You can see the DJ's booth sliding-window on the second picture : http://www.sekence.net/galerie/technorama15/ I think from now on they have kept it closed... -K* - Original Message - From: "Paul" <[EMAIL PROTECTED]> To: "Matt Kane's Brain" <[EMAIL PROTECTED]> Cc: "robin" <[EMAIL PROTECTED]>; "313 Org" <313@hyperreal.org> Sent: Friday, April 11, 2008 3:44 PM Subject: Re: (313) Booo! Its like some coming and stealing the needle in the middle of your set... p E-mail message checked by Spyware Doctor (5.5.0.212) Database version: 5.09600e http://www.pctools.com/en/spyware-doctor/
Re: (313) Booooooo!!!!!
One day, in a club, when i turned back to get the next record and put the one i just pulled off in the sleeve, there was thus GUY, browsing my records like he was in a record store! And he didn't bother at all i was starring at him and tapping his shoulder. He was like doing the most natural thing in the world, like he was choosing a record he wanted me to play. If i tell all the surreal stories about djing in this club, you wouldn't believe me. The club is not a ver well equiped one, with a tight spot they call a booth, so the stand for the decks was mounted in a little stage right in the front of the crowd. Pretty good energy, though. :) Kw On 11/04/2008, at 12:02, [EMAIL PROTECTED] wrote: What I'm wondering is - do these people go out to the club with the intention of stealing records/drives/needles? Is is a crazy moment of "I wonder if I could?" or is it some kind of klepto force from within that suddenly takes someone over and they're compelled to do it? It's interesting that the photographer didn't catch it in any shots - means the person was watching which leads me to think this was not some spur of the moment thing but a someone looking for some gear to fence MEK "KiDD*e" <[EMAIL PROTECTED]> wrote on 04/11/2008 09:51:47 AM: It has already happen... I remember at the Rex Club being told to keep the sliding window closed because the week before someone quietly stole the free turntable's needle while the DJ was plunged in his flycase looking for the next record. I was like HUH!, totally stunned! And i can't even imagined the DJ's reaction when it happened... You can see the DJ's booth sliding-window on the second picture : http://www.sekence.net/galerie/technorama15/ I think from now on they have kept it closed... -K* - Original Message - From: "Paul" <[EMAIL PROTECTED]> To: "Matt Kane's Brain" <[EMAIL PROTECTED]> Cc: "robin" <[EMAIL PROTECTED]>; "313 Org" <313@hyperreal.org> Sent: Friday, April 11, 2008 3:44 PM Subject: Re: (313) Booo! Its like some coming and stealing the needle in the middle of your set... p E-mail message checked by Spyware Doctor (5.5.0.212) Database version: 5.09600e http://www.pctools.com/en/spyware-doctor/
(313) Your last best detroit track
What's the last best Detroit track you heard? For me is Omar S - Track #8. Kw
Re: (313) techno vs technique
It seems that we agree in many points. So, no reason to take this further as a debate. I usually don't like the functional music, made for the (lousy) DJ. I've seen a lot of djs being fooled buy some dj unfriendly UR tunes, wich the first kick is not the 1 in the tempo count. Funny. :-D On 07/04/2008, at 17:48, Michael Pujos wrote: Kowalsky a écrit : Michael, when small bass/drums/guitar combos came out, people said the same thing: "now anyone can do music and it's gonna be crappy". When producers didn't have to learn musical theory or music notation to make music, people said the same thing. Probably, people said the same thing when Guttenberg came out with mobile typography in the XV century: "now everyone will be able to read and write and print any crap they like". Can't you see that the "loop" is the fact that people tend to be conservative when facing changes? Changes for me are exciting. And we're privileged to live years of such revolutionary changes. Y'all know what i mean. The formulaic thing... We work in two ways here. In one way, formulas built the styles, the genres. It comes the expression of many, of a society or a community. It's important. Like american soul music and the fight for the civil rights. It has its beauty integrated to a social factor - its indivisible. In other way, a composer will turn out to be crappy when you can see no punch in what he does, and the only thing that remains is an ordinary formula reaching nowhere. We can hear unexpected wonderful tunes made upon very simple and ordinary, formulaic structures, like the 12 bar blues or whatever. After all, what will count has no name. Gear doesn't matter, styles doesn't matter. It lies only in the artist himself. Sure but "artists" do music for a variety of reasons: getting better known to get gigs, a crappy remix to get a few $ because everybody and his mother needs to remix each other these days, and sometimes finally for the love of music. So it lies in the artist yes, but talented artists that do music for the good reasons, have a real artistic vision and the mean to realize it, are not so common. As for the formula, a point that annoys me is that much music is formatted to be DJ friendly, ie an unterminable 2-3min intro with next to nothing in it. And I'm talking of house here. I was relieved the other day when I got this great new Delano Smith EP and most tracks were starting straight away on point and about 5:30 [to those who'd say its formulaic, sometimes its so well done than it does not matter]. As a counter example of being formulaic, take most of the incredible Iridite back catalog: most tracks are not that much linear and offers suprises to the listener. Something not much people take the risk to do these days. Dan Curtin also excels as making non linear and intricate techno. It's not so much a surprise that non DJ friendly stuff allow a bit more of creativity composition wise. Anyway don't take all of the above to the letter: things are more sublte than I can express them, as English is not my native language.
Re: (313) minimal suxs like dub
Well, Arturo, i got your point. But i really have another opinion about "minimal". I'm not a native english speaker, but i'll try. Forgive any mistakes. Minimal is not necesserally less, or minus. But, sometimes, it ends up being the use of less elements. The use of silence and "empty spaces" as an element instead of a pause or a "nothing". We know that when we say something, or when we write something, people will never get exactly what we meant. There'll be always pieces blent together and "holes" that opens the possibility to other interpretations to fill in. Maybe, in the minimalistic forms, you these holes stretched. The intention of minimal, i guess, comes from the oposition to the whole dictationship created by the music of the romantic period, wich involved high eloquence to tecnically impose an established and only one interpretation. In many parts of the world, folk music is born minimal. The music from the people of the Xingu river valley, in Brazil, is very very very stripped to the bones. Japanese music is naturally minimal. In fact, most of the inspiration for many of the minimalist artists came from Japan. I see a lot of people categorizing dronal or repetition as minimalism. Sometimes, a drone or a repetitive pattern can configure a minimal structure, but not always. They can be in a modus of adding up indefinetly till turn into a mass of noise or white noise. The songs you linked, i feel what you say about they're being minimal. Well, when you compare two songs, there will always be a minimal one comparing to the other. Again, in these songs i can hear many textures, some walls of textures. Maybe they can be called minimal inside the style people call minimal (people name things that sound like EBM or New Beat as electro). They have a shade of some Isaac Hayes dark, dense and slow soul. I think they're intimal, delicate, not eloquent, sutil, but not minimal, in my opinion. A man, sitting in an empty room, playing a violin, can be minimal. Or not. It will depend on what he will play. On 07/04/2008, at 15:17, Arturo Lopez wrote: Good points, Kw. I guess I was focusing more on the classification stuff. You are certainly right about those words being used to describe an approach to production. I guess I'm also drawing my own imaginary line between the sort of disciplined minimal approach t o production you describe versus the sort of minimal that's trendy nowadays. Here's samples of something from I. A. Bericochea, which I think is pretty good minimal. http://www.iabericochea.com/A.mp3 and http://www.iabericochea.com/rojo.mp3 I'd consider that very different than the stuff they are playing in Berlin, even if those samples are from Minus releases (hehe). Arturo Arturo,i think both minimal and dub are named genres, but, above that, minimal and dub are techniques, methods of music production. You can hear minimal not only in techno, you can hear it in the philip glass music, in some post-punk bands, steve reich music, and in many areas of academic/modern music. Minimal is the way of the synthetic, the reducing, the way of the minimal elements necessary for certain expression due to intensify that expression or leave the receptor totally in charge of the interpretation. Dub is style of reggae, yes, but it's a studio technique before that. The use of effects, the focus on the process, the concept of remixing, the producer turning into a composer instead of a simple engineer. Dub techniques are responsable for a revolution in the music production aesthetics. You can see dub versions from Carl Craig songs, Hi-hop songs, Madonna songs, Stevie Wonder songs, etc etc etc. When you have music made in layers, you have dub. Kw
Re: (313) techno vs technique
Michael, when small bass/drums/guitar combos came out, people said the same thing: "now anyone can do music and it's gonna be crappy". When producers didn't have to learn musical theory or music notation to make music, people said the same thing. Probably, people said the same thing when Guttenberg came out with mobile typography in the XV century: "now everyone will be able to read and write and print any crap they like". Can't you see that the "loop" is the fact that people tend to be conservative when facing changes? Changes for me are exciting. And we're privileged to live years of such revolutionary changes. Y'all know what i mean. The formulaic thing... We work in two ways here. In one way, formulas built the styles, the genres. It comes the expression of many, of a society or a community. It's important. Like american soul music and the fight for the civil rights. It has its beauty integrated to a social factor - its indivisible. In other way, a composer will turn out to be crappy when you can see no punch in what he does, and the only thing that remains is an ordinary formula reaching nowhere. We can hear unexpected wonderful tunes made upon very simple and ordinary, formulaic structures, like the 12 bar blues or whatever. After all, what will count has no name. Gear doesn't matter, styles doesn't matter. It lies only in the artist himself. On 07/04/2008, at 15:57, Michael Pujos wrote: kent williams a écrit : This seems to come up a lot -- people complaining about laptop performers, software-based production, etc. This is where the dub vs mnml thread seemed to be going. I don't want to start another debate, or another repetition of the same people launching the same mortars over the wall at each other, but I want to say this (perhaps again): 1. Judge the results, not the technique. 2. The theoretical 'futurism' of techno would almost demand embracing of new technology. 3. You can make crappy dance music with a 909, 808, 303, SH101 and a MPC60 too. You're just out $10k more on hardware than you would be with your laptop and cracked copy of fruity loops. 4. Why give people points for making virtue of a necessity, if the results don't measure up? The so called "futurism" of techno is debatable. I just wish for good and ambitious music whether it is futuristic or not. My main problem right now is the flood of crappy music generated by the fact the barrier of entry to make music is lower than in the hardware era. Random Joe makes a loop, add random sounds, and voila: instant track that goes knowhere that might find a label since it's so easy to release digitally. Listening sequentially to listings of beatport or juno is a painful experience My other concern is that a lot of those new producers follow a formula, wheter it's mnml, house, etc where the composition of their track is s predictable. It's boring too tears. Even some tracks considered super good by most of the people of this list can enter the "predictable", and "does not bring anything new to the table even if a little" category. These days I prefer music that push things forward a bit, whether it's from Digitonal, Jacen Solo or Matt Chester (hi Matt!) for example. After all those years, I have less and less patience for music that just replicates a formula, as well produced as it is.
Re: (313) Vinyl meltdown
Well, if you put this way... Carlos Gardel voice buried under Cartola's tunes. :-) People used to laugh at parties, when through that dry beat instrumental track or something alike, in a very loud soundsystem, we could hear something like the voice of Barry Manillow. On 07/04/2008, at 14:56, António Alves wrote: Old ghosts hidden in the gaps. What an interesting concept! Antonio On Apr 7, 2008, at 6:44 PM, Kowalsky wrote: The result: thin records with crappy sound. Sometimes we could hear the sound of the old groove in the gaps, like the sound of a distant baddly tunned radio station. Kw
Re: (313) Vinyl meltdown
Damn! :) But i hate people making watches from records to hang in their walls. I saw one made of "Another Green World" the other day. Of course, the owner had no clue about the music on it. What a waste. On 07/04/2008, at 14:32, [EMAIL PROTECTED] wrote: give them to someone crafty http://www.eco-artware.com/catalog/MMM2-album-bracelet.php MEK [EMAIL PROTECTED] wrote on 04/07/2008 12:14:11 PM: I'd also be keen to find out more about this. I have 6 boxes of records sitting in Berlin that are too expensive to ship to the US and i'd prefer to recycle those suckers :) On Mon, Apr 7, 2008 at 10:11 AM, [EMAIL PROTECTED] <[EMAIL PROTECTED]> wrote: Odd question (and I can't remember if I asked it before on here): Was it just Trax (and presumably a few other similar shady ops back then) that used to melt old records down for new pressings? Or is (was) this common practice? I ask as 1. I have a cupboard full of an overrun on a 12" from years ago that I need to chuck out. I'm big on recycling and would love it if the plastic could live again (hopefully with something much better stamped on) rather than just putting them out for dumping. 2. Having started to think about it I'm curious as to any history anyone knows on this practise anyway. -- -- Southern Outpost Sydney - San Francisco - Berlin http://www.southernoutpost.com --
Re: (313) Vinyl meltdown
In Brazil, when vinyl was still printed over here, we could find two methods of vinyl recycling in the market - both were anti-ethical and practiced by the mainstream music industry. One was the recycling by melting broken, defective or unsold records. So, when people wanted their records printed on virgin good quality vinyl, they had to ask for coloured vinyl. The other consisted in the scrapping of the groove surface of unsold records and reprinting over. The result: thin records with crappy sound. Sometimes we could hear the sound of the old groove in the gaps, like the sound of a distant baddly tunned radio station. I don't think the shrinking printing industry is looking for recycled vinyl, once they have to maintain the quality of the sound to stay alive. Maybe there's some new technique that makes recycled vinyl sounds as good as virgin vinyl – wich would be a good thing. Unapropriate disposal of vinyl can cause a lot of damage. Kw On 07/04/2008, at 14:11, [EMAIL PROTECTED] wrote: Odd question (and I can't remember if I asked it before on here): Was it just Trax (and presumably a few other similar shady ops back then) that used to melt old records down for new pressings? Or is (was) this common practice? I ask as 1. I have a cupboard full of an overrun on a 12" from years ago that I need to chuck out. I'm big on recycling and would love it if the plastic could live again (hopefully with something much better stamped on) rather than just putting them out for dumping. 2. Having started to think about it I'm curious as to any history anyone knows on this practise anyway.
Re: (313) techno vs technique
Totally agree. But there will always be people feeling hurted by the ones who disturb their own status quo. The thing repeats on and on and on. A 70 year old rich guy claims that popular music is not music, an 50 year old claims that music played by guitar bands is real music, and music played by pushing buttons and running machines is not music, a "young fresh" guy, who already heard all this sh*t, claims that music made by pushing buttons and running machines is real music and the onde made in a computer is not. It's like a generations disease! That reminds me of that classic situation at work – new guy arrives doing things, shifting things up, but the olds guys wanna put him down cause they don't wanna work hard, they don't wanna keep up or run the risk of loosing whatever they already have. Kw On 07/04/2008, at 10:36, kent williams wrote: This seems to come up a lot -- people complaining about laptop performers, software-based production, etc. This is where the dub vs mnml thread seemed to be going. I don't want to start another debate, or another repetition of the same people launching the same mortars over the wall at each other, but I want to say this (perhaps again): 1. Judge the results, not the technique. 2. The theoretical 'futurism' of techno would almost demand embracing of new technology. 3. You can make crappy dance music with a 909, 808, 303, SH101 and a MPC60 too. You're just out $10k more on hardware than you would be with your laptop and cracked copy of fruity loops. 4. Why give people points for making virtue of a necessity, if the results don't measure up?
Re: (313) minimal suxs like dub
Arturo,i think both minimal and dub are named genres, but, above that, minimal and dub are techniques, methods of music production. You can hear minimal not only in techno, you can hear it in the philip glass music, in some post-punk bands, steve reich music, and in many areas of academic/modern music. Minimal is the way of the synthetic, the reducing, the way of the minimal elements necessary for certain expression due to intensify that expression or leave the receptor totally in charge of the interpretation. Dub is style of reggae, yes, but it's a studio technique before that. The use of effects, the focus on the process, the concept of remixing, the producer turning into a composer instead of a simple engineer. Dub techniques are responsable for a revolution in the music production aesthetics. You can see dub versions from Carl Craig songs, Hi-hop songs, Madonna songs, Stevie Wonder songs, etc etc etc. When you have music made in layers, you have dub. Kw On 07/04/2008, at 03:38, Arturo Lopez wrote: From DufDuf: "ie. minimal is a technique like dub is a technique" Disagree. Dub is a genre, Minimal is a genre. Rhythm & Sound does not sound like Magda. Yes these things exist along a continuum of sound, but are certainly at fairly distinct ends, with rather pronounced sound differences, regardless of how they are mixed together by a dj. Sure after a certain point we are sometimes splitting hairs, and of course everything bleeds into different areas, but that's part of the fun. People can get a little crazy with categorization, but it's a very useful tool for talking about certain types of music. I can say "minimal" and people know what I'm talking about for the most part. It might be hard to classify a single track, but I'm quite comfortable using a label to make it easy to discuss a type of sound as a whole. "I mean seriously the repetitive complaints I keep hearing about laptop dj's or copy cat stylists .. and references to the same single dubstep producer is wearing me thin." My delete key works just fine on messages I don't want to read. I just don't read posts I'm not interested in. I appreciate your opinions and did find them interesting, but writing in to everyone to say you are tired of hearing a discussion about something while participating in that same discussion is weak sauce. "I've been beat up around here before . for saying this, but the music is moving. It's doing new things, in a million different ways." I'd say there's plenty new in the performance side of things, but things aren't moving all that fast on the music-writing side. The technical ability to spit out a track on ableton in a few hours doesn't mean it's going to be any good. "I honestly can't tell any more the difference between house, techno, techhouse, detriot, minimal or any other genre you might want to mention." Splitting hairs again. I don't think it matters at all how you classify one piece of music, but people like to generalize in order to make things easier for large groups of music. There's just too much music out there. You have to know what area of the dartboard to shoot for in order to narrow it down to find stuff you like. That, or find people whose taste you trust in order to suggest things. I've found that people on this list for example, generally like the same kinds of things I like, so I don't care if they call it "X" genre, it gets the benefit of the doubt. And for the most part when people suggest music on here, I don't really hear any discussion at all about genres. It's 'check out this track' or 'check out this mix.' and I think that's fine enough for most. "The current era of music can mean everyone is a producer in their bedroom. So what I think we are hearing is people using the same sort of production techniques across similar tempo's and styles of music." It's always been that way, with whatever the current medium/techniques are. Tape edits to laptops, most people putting out tracks were/are always using the same sorts of tools at the same time. "I just think we might get more life out of electronic music if we start to look at some of the processes going on as the use of techniques as opposed to genreification followed by quick dismissal." I've got no problem genre-fying something that I think is mostly terrible (or excellent). It's my opinion. Classifying a group of music that sounds similar is perfectly valid if you are trying to express your opinion. No, I haven't listened to every 2-step record out there, but I can comfortably say that I'm not that interested in that music as a whole. No, I haven't listened to every minimal record out there, but I've heard enough (and certainly bought a few), to know it's not something I'm interested in either. "Currently I am enjoying the sounds classified as minimal because they provide a group of tracks that enable me to play sets that contain a lot of spatial texture." Rock on. "The use of reverbs, delays, s
Re: (313) contemporary academic music literature?
Frank, the best book i read, in years, embracing modern and contemporary music with no genre limits is called Audio Culture. I guess it will please your demands: http://www.amazon.com/Audio-Culture-Readings-Modern-Music/dp/ 0826416152/ref=pd_bbs_sr_1?ie=UTF8&s=books&qid=1207582989&sr=1-1 Kw On 07/04/2008, at 03:52, Frank Glazer wrote: i recently read this book http://www.amazon.com/This-Your-Brain-Music-Obsession/dp/0525949690 and enjoyed it quite a bit, but ideally i'm looking for something that's a bit less rock and a bit more techno. can anybody recommend any contemporary (21st century) academic-level critical writing and/or research on electronic music (or music in general) that is worth reading? as an example, i've been meaning to read this piece that martin posted a few months ago: http://folk.uio.no/hanst/Manchester/ChicagoHouse.htm not as interested in the cultural or historical aspects either (ala love saves the day and last night a dj saved my life, both of which i've read), but feel free to share if something is extraordinary. please no commentary from those who think music can't/shouldn't be discussed scientifically. :) -- peace, frank dj mix archive: http://www.deejaycountzero.com
Re: (313) minimal suxs like dub
I agree with you, Simon. Kw On 05/04/2008, at 21:59, duf duf wrote: It's amazing . . does anyone like anything on this list. Maybe the 313 t-shirt should be .. "don't like it on 313" .. beatless humour aside .. I was thinking the other day that we might be getting genre confused with technique. ie. minimal is a technique like dub is a technique Alot of the slash/techno/electronic music I hear nowadays can belong to a different genre depending on who you talk to, what tempo you play it at .. and possibly what medium you play it with. I'll bet if it's on vinyl its techno, downloaded it's electro and if you play it off a laptop then it's minimal . I mean seriously the repetitive complaints I keep hearing about laptop dj's or copy cat stylists .. and references to the same single dubstep producer is wearing me thin. I've been beat up around here before . for saying this, but the music is moving. It's doing new things, in a million different ways. Beatport is only one black hole of a dozen where new players can loose their credibility to the hype. It used to be Magazines, or lists like this. However nowadays you can pick your sound, lift you ideas from a global pool and drop your tracks back into the same pool. I honestly can't tell any more the difference between house, techno, techhouse, detriot, minimal or any other genre you might want to mention. For me genres change between bars of a track. cut out the high hats and it's techno, pull out the mids and its minimal. Take out the bass & the highs sing some vocals and your in the middle of a trance track ?? Dub is a genre of music, but it's also a studio technique that can be transported across many different genres of music. The current era of music can mean everyone is a producer in their bedroom. So what I think we are hearing is people using the same sort of production techniques across similar tempo's and styles of music. What else are we too expect given the technology, history and culture of the music? I just think we might get more life out of electronic music if we start to look at some of the processes going on as the use of techniques as opposed to genreification followed by quick dismissal. Currently I am enjoying the sounds classified as minimal because they provide a group of tracks that enable me to play sets that contain a lot of spatial texture. The use of reverbs, delays, stripped out melody modes and monotonic rhythms enable out board sample layering and the use of off beats on the other deck to construct the type of sets I have wanted too for years. Lets face it every Dj wants to be producer with out having to do the hard work in the studio. The likes of Lee Perry lead the way by just dubbing an existing sound, opening the door for one knob wonders the world over. In this regard , yes, the use of minimalist techniques by many producers is tedious but no more than the 303 when it was flavour or the cow bell or siren or filters . etc etc. We listen to techno music, we listen to machines and plead desperately for soul. You can't have your drum machine and beat it too. .simon
(313) Jared Wilson
I heard, years ago, an excellent mix recorded by Jarde Wilson. It started with an AFX's remix for a Bug tune (run the place red) and some great dancehall riddims from that time, then moves to some great technoish sounds. I also bought a 12", that i found lost in a store, with some great tunes by him, when i was in Paris. Anyone knows what else he's been doing?
Re: (313) Hieroglyphic Being - Bathroom Sessions Vol.1 CD
This release is ing awesome. I first knew about Mathematics when i bought the Adonis presents Noleian Reusse - Images 12". Wich has a couple of great tunes too. On 03/04/2008, at 06:39, robin wrote: On 3 Apr 2008, at 10:35, Toby Frith wrote: My mistake, it's actually from 2006. It's on bleep.com under Mathematics. Ah yes, found it. I missed that material on CD at the time anyway. robin...
