Re: Keep it real (and on topic)
I miss Tom
Re: Echospace BCN Dub -- horn samples?
I’m messing about mostly Kent while a file renders. I wouldn’t really call Deepchord or BC dub in the Classic sense of dub reggae or the art of making a dub, I prefer king Tubby and scratch Perry but I can see how it got there and adopted the name. M Sent from my iPad > On 22 Jan 2019, at 19:41, kent williams wrote: > > Well ... I think the world is big enough for deepchord/echospace/etc to exist > alongside Basic Channel. > > They're by no means the only people inspired by the intersection of dub & > techno first put forward by Basic Channel, or the most derivative. > > What has always gotten me about their work -- and they've put out an insane > amount of music -- is that they take a lot of care in sculpting their sound. > > Your mileage may vary, of course. Their performance at DEMF in 2002 was a > peak live experience for me... > >> On Tue, Jan 22, 2019 at 1:07 PM Joe Marougi wrote: >> Wonders if those labels/artists know what biting basic channel too hard >> means :D >> >>> On Tue, Jan 22, 2019 at 10:48 AM Martin wrote: >>> (Wonders if they know what dub means) >>> >>> Sent from my iPad >>> >>>> On 22 Jan 2019, at 18:42, kent williams wrote: >>>> >>>> Anyone know this track well enough to recognize the distorted horn sample? >>>> I am leaning towards it being something from the Burning Spear "Marcus >>>> Garvey" album... >>>> >>>> If you ever wanted an example of creating sampling -- this is it. It's as >>>> distorted and messed up as a sample can be and still be recognized. >>>> >>>> https://youtu.be/i8DKusXE1S0
Re: Echospace BCN Dub -- horn samples?
Paradox alert, call the cops, can I get some signal? Sent from my iPad > On 22 Jan 2019, at 19:07, Joe Marougi wrote: > > Wonders if those labels/artists know what biting basic channel too hard means > :D > >> On Tue, Jan 22, 2019 at 10:48 AM Martin wrote: >> (Wonders if they know what dub means) >> >> Sent from my iPad >> >>> On 22 Jan 2019, at 18:42, kent williams wrote: >>> >>> Anyone know this track well enough to recognize the distorted horn sample? >>> I am leaning towards it being something from the Burning Spear "Marcus >>> Garvey" album... >>> >>> If you ever wanted an example of creating sampling -- this is it. It's as >>> distorted and messed up as a sample can be and still be recognized. >>> >>> https://youtu.be/i8DKusXE1S0
Re: Echospace BCN Dub -- horn samples?
Not you silly 😀 Sent from my iPad > On 22 Jan 2019, at 18:52, kent williams wrote: > > This raises more questions than answers. I do know what dub means, unless > there's some metaphysical knowledge of dub that I'm not in possession of. It > is the case that Rod Modell & Steve Hitchell know what dub means; again, > unless there's some metaphysical knowledge of dub that you're referring to > that they don't know... > >> On Tue, Jan 22, 2019 at 12:48 PM Martin wrote: >> (Wonders if they know what dub means) >>
Re: Echospace BCN Dub -- horn samples?
(Wonders if they know what dub means) Sent from my iPad > On 22 Jan 2019, at 18:42, kent williams wrote: > > Anyone know this track well enough to recognize the distorted horn sample? I > am leaning towards it being something from the Burning Spear "Marcus Garvey" > album... > > If you ever wanted an example of creating sampling -- this is it. It's as > distorted and messed up as a sample can be and still be recognized. > > https://youtu.be/i8DKusXE1S0
Re: Mad Mike Tresor interview
Red Bull don’t actually make anything, the drink itself is licensed and manufactured by the original Thai licenser (Chaleo Yoovidhya). Red Bull only exist to make money, somewhere around 6 Billion last time I looked. All their labour goes into the brand, that’s why they buy out edgy sports and events, they are after the front covers rather than paying for advertising. This also helps keep up the claim of being an edgy “non-marketed brand” - it cost a lot of money to do that. There target is always young kids, the next generation, pretty easy when they have a 70% share of the market. My experience of them is they collect people, creditability and “things”, they employ creative agencies to do the buying and not cheap agencies either. I’m surprised that Denise has any support in her heart for people who do this on a weekly basis. https://imgur.com/a/VfHYGjU > On 13 Dec 2018, at 16:58, denisedalph...@gmail.com wrote: > > Moodymann just played Paisley Park and red bull had a hand in arranging that. > That’s good for Moodymann, who plays in Detroit a lot. So that’s good for > Detroit. > > Mike Banks should have been treated with way more fanfare and better > questions. But he gets to take that enormous, global stage. That’s good for > Mike Banks and good for Detroit. > > > > Denise Dalphond, Ph.D. > ethnomusicologist > schoolcraftwax.work
Re: Mad Mike Tresor interview
No, that is not their core business nor what they floated on, do some research. > On 13 Dec 2018, at 11:16, denisedalph...@gmail.com wrote: > > Like a promoter? > > > > Denise Dalphond, Ph.D. > ethnomusicologist > schoolcraftwax.work > > On Dec 13, 2018, at 06:08, Martin Dust wrote: > >> Red Bull are NOT a promoter, they are masters of hypernormalisation that >> purchase “cool", one look at their website will tell you that. It’s a least >> 3 clicks before you see an actual product. They turn people into products. >> >> >>> On 13 Dec 2018, at 10:46, denisedalph...@gmail.com wrote: >>> >>> Mike Banks fucks with red bull. Kenny Dixon fucks with red bull. They’re a >>> promoter. They have a permanent exhibit space in Detroit and this summer, >>> Submerge had a house music exhibit there. >>> >>> This is no plug for red bull. They’ve never published any of my writing, >>> but I’ve never submitted anything because in Mike Rubin’s piece about >>> Drexciya last year, they let him write that slavery is America’s original >>> sin, which is historically inaccurate; it’s Europe’s original sin. They >>> would never print my writing because I would say things a lot harder. Like >>> anti-cop shit and stuff. >>> >>> But red bull is everywhere. >>> >>> Denise Dalphond, Ph.D. >>> ethnomusicologist >>> schoolcraftwax.work >>> >>> On Dec 13, 2018, at 05:16, Martin Dust wrote: >>> >>>>> What started it all? Red Bull simply wanted to develop a way of fostering >>>>> the discourse of underground music and dance culture. >>>> >>>> First time I’ve heard called that. >>
Re: Mad Mike Tresor interview
Red Bull are NOT a promoter, they are masters of hypernormalisation that purchase “cool", one look at their website will tell you that. It’s a least 3 clicks before you see an actual product. They turn people into products. > On 13 Dec 2018, at 10:46, denisedalph...@gmail.com wrote: > > Mike Banks fucks with red bull. Kenny Dixon fucks with red bull. They’re a > promoter. They have a permanent exhibit space in Detroit and this summer, > Submerge had a house music exhibit there. > > This is no plug for red bull. They’ve never published any of my writing, but > I’ve never submitted anything because in Mike Rubin’s piece about Drexciya > last year, they let him write that slavery is America’s original sin, which > is historically inaccurate; it’s Europe’s original sin. They would never > print my writing because I would say things a lot harder. Like anti-cop shit > and stuff. > > But red bull is everywhere. > > Denise Dalphond, Ph.D. > ethnomusicologist > schoolcraftwax.work > > On Dec 13, 2018, at 05:16, Martin Dust wrote: > >>> What started it all? Red Bull simply wanted to develop a way of fostering >>> the discourse of underground music and dance culture. >> >> First time I’ve heard called that.
Re: Mad Mike Tresor interview
> What started it all? Red Bull simply wanted to develop a way of fostering the > discourse of underground music and dance culture. First time I’ve heard called that.
Re: new subscribers
Get your purse out https://www.kickstarter.com/projects/detroittechnomovie/god-said-give-em-drum-machines-the-story-of-detroi?ref=project_facebook
Re: new subscribers
> Hey, my name is Keith and I'm a Scorpio from Athens, GA and I like to find > the essence from within Who looks at a baby and decides to call it Keith? m
Re: Why Drexciya Took Detroit Electro Underwater
> On 24 Oct 2018, at 17:36, ja...@iridite.com wrote: > > Where's Tom Cox when you need him? He's always got a calm and measured > response in situations like this. > Proper LOL
Re: Why Drexciya Took Detroit Electro Underwater
> On 19 Oct 2018, at 12:24, denisedalph...@gmail.com wrote: > > I do not. Maybe you should read my article about Drexciya and UR and > Moodymann in Black Lives Matter and Music: Protest, Intervention, Reflection. > It just came out. > > Denise Dalphond > Then there’s nothing to discuss if you can see it.
Re: Why Drexciya Took Detroit Electro Underwater
Yes it’s real, do you not see the logical fallacy in your argument? > On 19 Oct 2018, at 11:56, denisedalph...@gmail.com wrote: > > Is this a real question? Dan Sicko was a actual Detroiter. > >> On Oct 19, 2018, at 05:43, Martin Dust wrote: >> >> Hi Denise, >> >> Do you feel the same about Dan Sicko’s book? >> >> m
Re: Why Drexciya Took Detroit Electro Underwater
Hi Denise, Do you feel the same about Dan Sicko’s book? m
Afternoon 313
It’s been a long time 313, Here’s some free weird stuff we’ve been making https://soundcloud.com/the-black-dog/sets/the-conspiracy-tapes-2018 Ambient vibes with a twist of strange. m-tBd
(313) Some Dogma
New mix from us, some cracking tunes in this one m http://soundcloud.com/the-black-dog/the-black-dog-further-dogma-01 Tracklist 01. Matt O’Brien – Balance – Curle Recordings 02. Heartthrob – Cougar Juice (Reduced Dub) – Isnisnt 03. The Black Dog – Bardwell’s Disaster – Dust Science 04. Bas Mooy – Charlton Unforgiven – Mord 05. Alex Smoke – LSD – R&S Records 06. Perc – Take Your Body Off (Tessela Remix) – Perc Trax 07. Tobias – He Said – Ostgut Ton 08. Sean Ray – Deep 454 (Space DJz & Mr O Remix) – Bulletdodge Records 09. Terence Fixmer – Descente – Planete Rouge 10. Planetary Assault Systems – Future Modular – Mote-Evolver 11. Epi Centrum – Raw (Audio Injection Remix) – Synewave 12. Eomac – Crackts – Killekill 13. Nehuen – Non Verbal Thinking – Classicworks
(313) Shake
Interview with Shake here: http://www.junodownload.com/plus/2014/04/29/thats-american-an-interview-with-anthony-shake-shakir/
Re: (313) Terrence Parker
Hey Rob, Are CS reading your mail? Bit unusual for some from Spain to say Cheeky… http://www.clubbingspain.com/noticias/2014/contra-terrence-parker.html
Re: (313) Terrence Parker
On 30 Apr 2014, at 11:45, Ken wrote: > I dunno anymore! add this as well http://terrenceparkernotdjing.tumblr.com/
Re: (313) The drum machine that refused to die
It's not the same but good for the price, not mad keen on how it looks or feels but there's enough there for the money. m
Re: (313) Mayday
On 2 Apr 2014, at 09:34, Rob Taylor wrote: > To be really pedantic, only a listener or a reader can infer. Mr May implies. > > Sorry! > Actually made me laugh, good work Rob. m
Re: (313) New Project
Thanks guys, it's been a long journey but worth it and yeah the video was difficult to do but we did our best and now we're doing our best to prove our accountant wrong! m On 7 Sep 2013, at 17:30, James Fisher wrote: > Martin doing his Dragons Den pitch there > On 7 Sep 2013, at 15:13, Andrew Duke In The Mix/Cognition Audioworks > wrote: > >> Looks excellent. I'm spreading the news immediately. Andrew >> >> http://andrewdukeinthemix.com
(313) New Project
Morning 313, For the last 8 months we've been working on this http://www.kickstarter.com/projects/machinewerks/cs-x51-usb-midi-control-surface we've trying to bring a small piece of manufacturing back to Sheffield and to make some cool stuff. If you can help or have ideas for helping please do get involved. Martin
Re: (313) DJ Marvin - UR?
Love the idea of UR being in Whitley Bay tho On 7 Sep 2013, at 07:54, Jason Brunton wrote: > His Soundcloud profile says David Peacock so don't think it's him :)
(313) Technics 1200 MK2
Wotcha 313, We got a couple of absolutely mint and box fresh units up for sale if anyone's interested. Hit me up. M
Re: (313) Borderland
Wasn't feeling it at all but I'm not into that vibe very much these days. Really enjoyed the new James Holden album tho. m On 10 Jul 2013, at 14:09, Patrick Wacher wrote: > Very much enjoying it. It's something I can put on and get a little lost in > the tracks.
Re: (313) Received a new demo today (says he's from Detroit?
It still better than anything in Beatports charts and I kinda like outsider music and people who have a go. m On 22 Jun 2013, at 04:45, Odeluga, Ken wrote: > This is actually not cool folks. > How about dropping it? > It's probably enough to decide that the guy's track is not very well done [or > not to your taste] and to leave it at that. > > K >
Re: (313) Depeche Mode - Personal Jesus remix
On 20 Jun 2013, at 07:52, Minto George wrote: > > I think what some of David is saying has some validity and anecdotal evidence > from first-hand accounts and even historical documentation. Same goes for Santa existing as well. > > I remember having a conversation with Mike at Submerge about this. 'Sometimes > the music plays you.' Not really tho, it's just reenforcement via repetition, ever driven to work and not remembered the journey? VoDOooo m
Re: (313) Depeche Mode - Personal Jesus remix
> > A DJ has an incredible amount of power over their audience. In my > opinion, those who don't take such power seriously, have no business > DJing. They may actually be negatively impacting the well being of > their audience. I do believe that bad music can literally make people > sick in a psycho-spiritual sense! and the scientific proof for the above? m PS I once dealt a hand of tarots cards and 3 people almost died :)
Re: (313) KRU Noise Radio 2013-04-20
I just like it all :) Kinda moved away from "soulful" stuff for a long time m
Re: (313) KRU Noise Radio 2013-04-20
Thanks very much m On 22 Apr 2013, at 14:17, Kerr Knoll wrote: > We are spoiled for quality mixes today :) > > Been listening to the Darkwave 11 and thoroughly enjoying it. Looking forward > to listening to Kent and Andrew's mixes next. >> >> http://www.theblackdogma.com/tbd/2013/04/the-black-dog-darkwave-11/
Re: (313) KRU Noise Radio 2013-04-20
Here you go :) > > re: The Black Dog; just saw a new > DarkWave mix posted; Martin; can you share the link here please? http://www.theblackdogma.com/tbd/2013/04/the-black-dog-darkwave-11/
Re: (313) history always favours the winners
On 5 Mar 2013, at 00:43, Fred Heutte wrote: > But they were playing at a time when many in the same circuit > (the Washington DC underground of 1977 onward) really couldn't > -- including some, like Half Japanese, who made a fetish of that. > Some got better, some didn't. Loved Bad Brains, played their album to death back in the day, amazing live as well. > > Many of us who DJ or make tracks have drawn on the DIY punk > attitude -- itself an outgrowth of, among other things, the garage band > ethos in the 1960s in the US, of course commemorated by "Garageland" > by the Clash, a band who could really really play. They wrote Garageland because they got called a garage band in the NME for their gig supporting the Pistols at The Screen On The Green > > It's easy to overlook now the profound influence of the Ramones > on the Pistols and everyone else. And what were they doing? > Basically 1960s garage. Yeah, that first album was the blue print. m
Re: (313) history always favours the winners
Simple photo on the cover and all his own tracks.
M
On 5 Mar 2013, at 00:01, darnistle wrote:
>
>
> On 3/4/2013 2:58 PM, Martin wrote:
>>
>> Yeah, there's a lot to learn from history, I didn't know it was Bob Dylan
>> that changed the album format to what we know it as so yeah if I'm just
>> learning that...
>>
>> m
>
>
> ???
>
> In what way did he change the album format?
>
> --
> {}0+>|
Re: (313) history always favours the winners
On 4 Mar 2013, at 19:31, David Powers wrote: > Martin, good point about "the myth of them not being able to play." I've got early bootlegs of the Pistols, Clash and Stranglers, they could all play pretty good. > > I do think the DIY aspect of punk was very positive, and that DIY > spirit continues to inspire many electronic musicians of all sorts. For sure, it's really important. I still have the TV Personalities 7" and Scritti Politti 7" that had all the pressing etc details. I remember buying Cabs 7s and seeing them in the same que for UK Subs/Joy Division and waiting for the bus, sounds silly but it made it more real back then. By the same note I remember seeing the Cabs, Throbbing Gristle and The Slits and not understand a thing that was going on, The Slits couldn't play for sure but there was something wonderful in the chaos :) > > However, it's interesting to note that DIY approach was actually > pioneered by jazz musicians already in the 1950's and 60's, by artists > like Sun Ra, Charles Mingus, and the members of Chicago's AACM > (Association for the Advancement of Creative Musicians). It does make > me wonder if any of the original Detroit techno artists were aware of > their predecessors. Yeah, there's a lot to learn from history, I didn't know it was Bob Dylan that changed the album format to what we know it as so yeah if I'm just learning that... m
Re: (313) history always favours the winners
I always listen out for the guys below and often go out and see them, as odd as it sounds I like watching what Theo does to a crowd but I've moved more and more away for soulful stuff and cookie cutter Detroit pads. I've got friends in Sheffield making souful house and it does nothing for me at all right now. For a while I've just had the vibe that Detroit is making the sound it thinks people want to hear but I'm happy to be wrong. m On 4 Mar 2013, at 19:20, David Powers wrote: > All the house guys in Detroit are consistently putting out quality > music (your subjective enjoyment may vary of course): > Delano Smith > Norm Tally > Mike Huckaby > Rick Wade > Rick Wilhite > Moodymann > Marcellus Pittman > Theo Parrish > Scott Grooves > Kyle Hall > Omar S > > Plus, had good (proper techno) albums from Robert Hood and Terrence > Dixon recently. That seems like a pretty high amount of activity as > far as I'm concerned. And this list isn't nearly complete. > > ~David
Re: (313) history always favours the winners
On 4 Mar 2013, at 16:16, Daniel Bean wrote: > That was my earlier point way back on this thread. To recap: "EDM? Who cares?" > Not everyone shares that sentiment though. Aye, you can see why people bite and it can be good fun but I'd be more worried about the lack of good tunes coming out of Detroit than anything Sonny or Boy To Noize said. m
Re: (313) history always favours the winners
On 4 Mar 2013, at 16:03, Daniel Bean wrote: > Is it OK to villify him for making really awful music? Why are people on 313 worried about him at all?
Re: (313) history always favours the winners
On 4 Mar 2013, at 14:25, David Powers wrote: > First of all, it's the opposite, punk was (supposedly) influenced by > situationism, > > 'Marcus quotes the musician Paul Westerberg as saying that he became > enthralled with the Sex Pistols because “It was obvious that they > didn’t know what they were doing and they didn’t care.” Talcy Malc did rip off a hell of a lot of dada and situationism but he didn't try to hide it. He tried some of it on the New York Doll but it didn't work or stick. It's interesting that the myth of them not being able to play still continues, Jones, Cook, and Matlock could all play very well. I think the key part about punk for me was that it was about getting up and having a go. Here's the names and addresses of the studio's, pressing plants and venues --- GO m
Re: (313) The Black Dog – Arranging & Processing Bleep. 01
On 27 Feb 2013, at 11:52, Andrew Duke Cognition Audioworks new email address wrote: > Thanks for the opportunity, Martin. > Downloading as I type this. > Andrew No worries Andrew, was a pleasure to do and something we've been doing for a long time for DJing and studio pleasure really. m
(313) The Black Dog – Arranging & Processing Bleep. 01
Hey 313, We’ve always been in two minds about doing this because as much as we like the past we love the future more. However these are a few of our private edits of early Bleep & Bass tracks we made for our own pleasure. We’ve been dropping them in sets because they still make us dance and this is how Return Ov Bleep came about. 1. Autechre – Eutow – Warp 2. Forgemasters – Track With No Name 3. The Black Dog – Bleep One 4. LFO – Push – Warp – Dust Science 5. Phoenecia – Y-Intercpnkt – Warp 6. Tricky Disco – Tricky Disco 7. Move D – Rain Shine – Warp 8. Sympletic – Ace Space _ Warp 9. The Black Dog – Bleep Four – Dust Science 10. Sweet Exorcist – Testonetwothree – Warp 11. LFO – Tied Up – Warp http://www.theblackdogma.com/tbd/2013/02/the-black-dog-arranging-processing-bleep-01/ m
Re: ( 313) Google Street View and Drexciya [not serious]
That's brilliant :) On 31 Jan 2013, at 17:06, "Odeluga, Ken" wrote: > 313-related silliness.
Re: (313) Analysis: Stuck in reverse, Detroit edges closer to bankruptcy OT
Hi David, I've seen this statement loads of late... >>> strife creates better art. It must be because the Tories are back in but it's such an utter nonsense statement that even if you think about it for 1 minute it comes crumbling down.
Re: (313) Analysis: Stuck in reverse, Detroit edges closer to bankruptcy OT
On 29 Jan 2013, at 16:39, David Smith wrote: > "I don't want to get into the politics." But in my opinion, strife creates > better art. And if you think about that statement you know it's utter BS.
Re: (313) Kraftwerk: Concerts next year
> Tate clearly doesn't have state-of-the-art admin which can match the > technocratic 'Gestalt' [pardon me for being poncy] of Kraftwerk. > Even so, there's little doubt that Kraftwerk would only appear at a venue > [nowadays] if the sound facilities were top notch. Not so sure about that Ken, the event at Manchester Velodrome was pretty poor.
Re: (313) Kraftwerk: Concerts next year
> > Then why see Kraftwerk in concert? To witness/enjoy the execution of said instructions!
Re: (313) Kraftwerk: Concerts next year
Redial for 2 hours and then gave up, hope the same people aren't organise the sound :) m > I can't go so didn't even bother but it seems like chaos, I hope this is not > a sign of things to come and that the shows go off ok.
(313) Funk Dvoid live
http://www.electronicsupperclub.tv/live
Re: (313) NYE
Off to see Regis m On 6 Dec 2012, at 13:17, Paul Kendrick wrote: > What are people up to on NYE, anyone going clubbing?
Re: (313) new transmat
On 28 Nov 2012, at 10:15, Philip McGarva wrote: > and yes getting paid is tough. i never saw a cent from danny tenaglia or > roger sanchez including 'signals' on their mix cds, or sven vath using 'disco > version' (styrax) on his. i'm a more assertive these days, but some things > are impossible to resolve or negotiate via email. dj scruples? don't make me > laugh. Aye, seen it from both sides really - it's difficult to make comps pay and work these day, so much so I'm surprised smaller labels still do them. m
Re: (313) New Transmat Comp.
However if they have a contract with DM he's perfectly entitled to do what he's doing and he may have already paid them for the release in advance. m On 28 Nov 2012, at 09:59, Aidan O'Doherty wrote: > i mailed their news editor - not that i expect anything to come of it > > On Wed, Nov 28, 2012 at 9:34 AM, Aidan O'Doherty > wrote: >> so, for the likes of philip and stephen brown, the fact that they were >> not contacted about his comp, despite may's quote that all artists got >> paid in advance, means they will not get the royalties they deserve? i >> think resident advisor should be made aware of this. what i find >> surprising about their piece is the obvious fact that none of it was >> checked out - a quick google search would turn up loads of info on >> djinxx - sure they have him in their profiles, including his twitter >> feed. it's not like they are up against print deadlines.
(313) Greetings From SoYo
Hey 313, Long time, been busy in the studio and doing this: http://www.electronicsupperclub.tv/ See what you think. m
Re: (313) Rob Hood & Mike Banks interview.
Looking forward to reading this one m
Re: (313) From the mouth of babes...
The day you worry about anything Mr. Guetta says is probably the same day you should double your dosage! m On 12 Jul 2012, at 13:30, Rob Taylor wrote: > Why? He's right in a way. UR ARE a bit po-faced. Detroit techno is in > general, quite SERIOUS.
Re: (313) Carls Davis AKA Carl Craig
Wasn't that keen to be honest but been on a darker tip for while now. m
Re: (313) Kraftwerk - New York
On 16 Apr 2012, at 17:12, kent williams wrote: > I think there's a general trend going on there. People do get sick of > lugging bags of records all over the world, and all those guys are > getting into their 40s and have to start worrying about their lumbar > region. The state of some of the decks we've seen in clubs it's a wonder anyone can play on them to be honest, plus budget airlines and 100 12"s don't really mix these days. m
Re: (313) Kraftwerk - New York
On 16 Apr 2012, at 20:42, Greg Earle wrote: > On Apr 16, 2012, at 6:15 AM PDT, David Smith wrote: > >> VS an analog show: rewind the clock to 1981, just imagine what it >> would be like to hear them "live." -- if there is such a thing. I >> heard they were indeed here in 1981, I'd like to think it wasn't just >> them playing a tape, dancing around -- but actually synthesizing new >> tones, "live." > > Being an, ahem, "list elder" ... I saw them back in July of 1981: > > http://www.flickr.com/photos/79243992@N00/4010953276/ This was the 81 set up: http://farm4.static.flickr.com/3659/3447163892_68958e1faf.jpg
Re: (313) Kraftwerk - New York
On 16 Apr 2012, at 15:27, kent williams wrote: > There are a ton of horror stories about touring with analog synths in > the old days -- We have plenty with them ( horror stories) just in the studio, fucking things :) m
Re: (313) Hawtin interviews Skrillex.
On 2 Apr 2012, at 01:14, Fred Heutte wrote: > "edm crossover to mainstream" When did people start using the term EDM in this context? Seems a little strange. m
Re: (313) acoustic jazz strings of life?
I feel unclean On 20 Dec 2011, at 13:57, kent williams wrote: > Christian Prommer does dance classics as acoustic jazz > Cant decide if it's great or awful: > http://www.sonarkollektiv.com/tracks/DE-P96-06-00245/
Re: (313) One for the gramps again - Mayday @ The Music Institute, '88
Wow, not seen this, cheers Ken m On 1 Dec 2011, at 19:41, Odeluga, Ken wrote: > http://soundcloud.com/technobar/derrick-may-live-music-institute-1988 > > If it was posted already, please forgive me. > > It's just that it's the bees knees folks, and currently rocking the matter > between my ears. > > Ken > > Ken Odeluga > Assistant News Editor Markets – Market Talk > Dow Jones Newswires > 10 Fleet Place > Limeburner Lane > LONDON EC4M 7QN > > > > ken.odel...@dowjones.com > > 44 (0) 20 7842 9297 > 44 (0) 7887793644 >
Re: (313) inner city
On 28 Nov 2011, at 20:19, Marsel van der Wielen wrote: > > me like > > http://soundcloud.com/defectedrecords/kevin-saunderson-presents Wasn't keen at all m
Re: (313) T Baby is an Internet phenomenon?
WTFlat On 18 Nov 2011, at 21:21, kent williams wrote: > The beat is pretty decent. They sing the hook in the key of WTF, and > verses end in the middle of the loop. It made it onto the resurrected > Beavis & Butthead... > > "It's So Cold In The D" > http://youtu.be/aktLRiWXfqg
Re: (313) Silly fanboy collectors question...
On 11 Nov 2011, at 15:40, David Powers wrote: > You should have him come over and use it to collab on a track... hahaha! Don't think he makes music anymore from what he was saying. m
Re: (313) Silly fanboy collectors question...
We have Phil Colins old JD 800 :) m
Re: (313) new black dog liber dogma now out (for download)
On 17 Oct 2011, at 20:19, kent williams wrote: > http://www.liberdogma.com/ > > I think it's pretty a pretty sweet release. Plenty of the sort of > bleepy tunefulness of the early 90s black dog, with some good > dancefloor techno beats in places. Thank you very much Kent > > Not to stir up old feuds or anything, but I do like it more than the new > Plaid. Those wounds have long healed :) > > There's a remix EP coming too with mixes from Sandwell District, > Blawan, Sigha, Richard Kirk, Perc and Shifted, which is rather a > who's who of the sort of adventurous producers one would hope to get > remixed by in 2011. Really proud of the double 12" it's the deepest cut we've ever done, the vinyl is so lush.
Re: (313) Rob Hood Mix on CLR
On 14 Sep 2011, at 01:31, darnistle wrote: > Very annoying! Not as annoying as Chris talking all over the mix, really winds me up for some reason. There's even one where he talks about not talking on the mix. m
Re: (313) Dan Sicko
Gutted just sent tomorrows football, records and beer money. m On 26 Aug 2011, at 17:15, Greg Earle wrote: > is very, very ill. > > We all know how much Dan means to our community. > > Please ... if you can. > > http://www.gofundme.com/DanSicko > > Background: http://mattsicko.blogspot.com/ > > ;-( > > - Greg >
Re: (313) Moodymann track id?
> http://vimeo.com/26299084 How embarrassing is that! m
Re: (313) The Vault - April 20, 2011 with Anton Banks
On 17 May 2011, at 17:59, AntonBanks.com wrote: > ### > Mix by Anton Banks > > Lec - Trimming [Amaze Me] > Lucy & Xhin - Lx2 [Clr Germany] > Blawan - Lavender [R&S] > Appleblim, Ramadanman - Void 23 - Carl Craig Re-Edit [Aus Music] Some good picks there Anton. m
Re: (313) Pirates (Toddla T "Take Me Back")
On 17 May 2011, at 14:31, Mann, Ravinder wrote: > Not sure about the car park parties, loads of ravers from the city centre > used to go to Sonny's blues in Chapeltown for afterhours around 91. Born out of loads of youngsters not being able to go home so wrecked at that time in the morning, it kinda started at motorway cafes on the M1, we had some blinders at Woodall Service but the police soon moved in and stopped it all.
Re: (313) Pirates (Toddla T "Take Me Back")
On 17 May 2011, at 14:23, Rob Taylor wrote: > depends what you mean by early days - i'm talking 91-94ish, so not > early early early days! Thinking 90-91sh, trying to remember when we use't to do the Retford Porterhouse run to see Easy D and Jumping Jack Frost! m
Re: (313) Pirates (Toddla T "Take Me Back")
On 17 May 2011, at 14:12, Rob Taylor wrote: > leeds had a few pirates too - dream fm was the best one - astonishing > variation of music, unlike the london ones Was that in the early days Rob? I remember people having Car Park parties with pirate station blurting after the clubs had kicked out at 2am, always on the edge of Leeds, got so big the police blocked them all off for a couple of weeks and killed the scene. m
Re: (313) Pirates (Toddla T "Take Me Back")
> > > Manchester had soul and reggae pirates but don't recall a techno/house one > but I'm going back a long time to 88ish when I was there for a year or so but > I could have missed 'em on the dial. They might have been more prevelant in > the early nineties as jungle broke. I remember Rob and Sean ae talking very passionately about pirates in Manc around 96-7. m
Re: (313) Pirates (Toddla T "Take Me Back")
On 17 May 2011, at 13:28, Mann, Ravinder wrote: > Hi, > > A slight tangent to this. Does anyone know if there is a pirate radio culture > in Detroit ? Would be interested to listen in if they stream over the > Internet. Not heard of anything, didn't Manc have a good pirate scene at one time Ravi? > > That Toddler T reminds me of Let Me Be Your Fantasy by Baby D more than > anything else. It could be loads of tracks but I think that's the point, Toddla's dad is a raver :) m
Re: (313) Toddla T "Take Me Back"
Are there many pirate stations still going Rob? Got a few early Rinse things that are good but I can't seem to listen for longer than 5 minutes now it's gone legit, too many shout outs and rewinds! m On 17 May 2011, at 13:12, Rob Taylor wrote: > looks like it's filmed in 'my' part of london too
Re: (313) Toddla T "Take Me Back"
On 17 May 2011, at 09:37, Rob Taylor wrote: > this is london, not 'whoohoo yay, go team!' america. people don't want > to look too enthusiastic. that would never do. ;) Moody as a speed garage night innit, the vibe is pretty much spot on I reckon, needed more back spins and shout outs for the real vibe tho :) m
Re: (313) Toddla T "Take Me Back"
To be fair, lot's of house lyrics are very similar around the early period, it's a big tune for Toddla. m On 17 May 2011, at 04:24, David Powers wrote: > Okay, well more obviously it rips lyrics direct from Ralphi Rosario > "You Used to Hold Me" ... > ~DP
Re: (313) Toddla T "Take Me Back"
Reminds me of Playing With Knives m On 16 May 2011, at 20:36, kent williams wrote: > Is it just me or doesn't this borrow from Derrick May -- and 80s > Techno in general? In a really good way? > http://www.youtube.com/watch?v=tAqENlABNQk
(313) Shake Interview
Interview with our very own Shake: http://www.littledetroit.net/feeds/anthony-shakir-vs-intruders m
Re: (313) 313
On 27 Apr 2011, at 16:38, Odeluga, Ken wrote: > Time that address was bloked. > > Getting that person's spam is just boring Who's this as well: autorespon...@sparkasse-kehl.de Bitte antworten Sie nicht auf diese E-Mail. Vielen Dank für Ihre Nachricht. Wir werden Ihr Anliegen so schnell wie möglich innerhalb unserer Geschäftszeiten bearbeiten. Der Austausch von Nachrichten mit der Sparkasse Hanauerland via E-Mail dient ausschließlich Informationszwecken. Rechtsgeschäftliche Erklärungen werden über dieses Medium nicht angenommen. Bitte nutzen Sie zur Erteilung rechtsgeschäftlich verbindlicher Aufträge oder Weisungen (z. B. Überweisungen, Wertpapieraufträge, Einwendungen gegen Rechnungsabschlüsse, Belastungsbuchungen aus Lastschriften etc.) das durch unser Institut angebotene Online-Banking-Verfahren oder wenden Sie sich an Ihren Berater. Sparkasse Hanauerland, Hauptstraße 88, 77694 Kehl, Telefon (0 78 51) 8 60-0, Telefax (0 78 51) 8 60-4000, Sitz Kehl, Anstalt des öffentlichen Rechts, Handelsregister Freiburg HRA 370665 Kent? m
Re: (313) 313
On 27 Apr 2011, at 16:38, Odeluga, Ken wrote: > > > > > Instead, here's something fun, but maybe not for Derrick May anyone > (not!) seen this: > > http://is.gd/Gkj5vJ > You'd have to be gutted, although permission may be out of his hands to be fair m
Re: (313) 313
On 15 Apr 2011, at 15:59, ja...@iridite.com wrote: > Too true! What's everyone doing for Record Shop Day? Manchester at 5am, need that JD/NO release :) m
Re: (313) 313
Shall we have a 313 post day? It's kinda sad that the below is this weeks traffic :( m On 14 Apr 2011, at 21:59, > 313 I can't even begin to explain how good I feel > http://ftlauderdalecruise.com/searchresult-g_common_BH.php?CS=aHR0cDovL3d3dy5uYmMxMG9uLmNvbS8/a2Q4Mmgx > once you start this business you will be forever satisfied with the results > don't just sit there and think about it come on and try it if you are truly > tired of the daily stresses of working for someone else then try this > everything is going amazing for me since i started this > >
Re: (313) Moodyman Strikes Aagin
On 4 Apr 2011, at 16:04, kent williams wrote: > Me, with my new best friend, John Waters. > http://www.flickr.com/photos/chaircrusher/5583682621/in/set-72157626416142674 Great picture Kent m
(313) The Black Dog - Dark Chamber White Noise mix
Wotcha 313, New mix from us, small amount of 313 but you know how it goes Tracklisting: 01. Surgeon – Sheffield Muggerscum Out (The Black Dog Remix) – Soma/Dust Science 02. Planetary Assault Systems – Sucktion – Mote Evolver 03 Planetary Assault Systems – Raid – Mote Evolver 04. Lucy and Xhin – LX3 – CLR Recordings 05. Robert Hood – Alpha (James Ruskin Remix) – M-Plant 06. Samuli Kemppi – Suunta – Komisch 07. Function vs Jerome Sydenham – Two Ninety One – CLR Recordings 08. LFO – LFO (tBd Rework) – Warp 09. The Black Dog – Jack Warp – Unreleased 10. OVR – Descending The Left Corner – Blueprint Records 11. Raudive – Total Pure – Wires 12. The Black Dog – Drake Equation – Unreleased 13. Traversable Wormhole – Transducer (Brian Sanhaji Remix) – CLR Recordings 14. The Black Dog – Bass Tunnel – Unreleased 15. Surgeon – Moseley Muggerscum Out (The Black Dog Remix) – Soma/Dust Science http://www.daveclarke.com/ http://weblogs.vpro.nl/whitenoise/ Mix Here http://www.theblackdogma.com/tbd/?p=1766
Re: (313) Suggestions for Sheffield Music Special
I'll try and help but I think you'll be hard pushed to get interviews with anyone, people up here don't bother and are sick of talking about the past, it wasn't that great. Ozone isn't a Sheffield label either, it was part of Native from Doncaster, which is a bit like Detroit vs Windsor :) M On 28 Mar 2011, at 18:06, kent williams wrote: > To state the blindingly obvious, Dust Science? > > On Mon, Mar 28, 2011 at 12:39 AM, Richard Hester > wrote: >> In May, I'm going to be doing a 2-part radio special called "Steel City >> Techno", focusing on electronic music developments in Sheffield, UK. The >> first part will look at from 1988 to1994 or so, covering producers like Rob >> Gordon, Mark Brydon, Kirk, Richard Barratt, and others. Some labels I'll be >> looking at will be Fon, Ozone recordings, and the early releases from Warp. >> The second part will cover more recent developments, especially since Warp >> has moved to London. I'm looking for suggestions on both early and >> contemporary Sheffield labels to cover. I'm also looking for contacts I can >> interview. People with suggestions can contact me off-list. >> >>Regards, >>Richard Hester >>KFJC-FM >>www.kfjc.org >>
(313) Tunes
PAS - Temporary Suspension. Our favourite this month. It's been around a while but sometimes you just need the right amount of time. CoH - Strings. Joining dots that never existed and it has guitars in as well. Lovely stuff from the out edge of your speakers. William Basinski - 92982. Like the underside of Sheffield on a Sunday morning travelling home from a rave wanting your living room. Tim Hecker - Ravedeath - rather wonderful release from Tim, sparse but full. m
Re: (313) holy crap virgo 4 re-releases
30 tracks on 10 sides is some going tho m On 8 Feb 2011, at 23:16, wrote: > No, all the stuff on the CD is on the vinyl, I think I think Kent means the > vinyl doesn't get 30 tracks on by being a mega-mix!
Re: (313) The Vault - January 5, 2011 with Inigo Kennedy
Well done Anton m On 10 Jan 2011, at 02:38, AntonBanks.com wrote: > January is my 16 year radio anniversary. > Many thanks to all of the record labels, artist, > and booking agents who have sent me music for > my show over the past 16 years. Most of all, > thanks to YOU for listening to my show. It's > a great feeling to be able to share music I > enjoy with people around the world. > > Thanks for your support!
Re: (313) Afternoon 313
On 10 Dec 2010, at 14:25, logic7 wrote: > Sadly, I'm a member on the forum, but haven't logged in in ages. Hurry back cos Richie is drowning under a pile of indoor scarfs :) m
(313) Afternoon 313
Hey 313, We've been doing this: http://www.littledetroit.net/ What you been up to? m
Re: (313) NPR on Chicago Footwork music
>>> Even more fascinating, I can't think of any analogous dance culture >>> amongst white people. In the UK you have to go back to Morris, Clog and Northern Soul - but I wouldn't say they where/are exclusive. m
Re: (313) Aarron Carl has passed
R.I.P AC :(
(313) Sound Design + Electronic Music History
We touched on this a bit yesterday but I thought I'd share these links with people. It's difficult listening in places but very interesting and worth sticking it out. The idea of a completely original piece of music is fairly recent. Music was passed on through sound, through generations, even for centuries after the invention of written music. Only in the 14th century did it become standard practice for a composer to sign his name to a piece of music and claim it entirely as his own, giving rise to the cult of the individual composer. But as recording supplanted sheet music in the 20th century, the presence of communal influence became unavoidably obvious once again as composers began to use recordings to make new recordings. We can now hear the presence of more than one voice. And there is a reason why people don't say they listen to a record – they say that they play a record. From the beginning, recordings have been instruments. The first episode of this overview of appropriative collage in music covers the years 1909 through 1961, beginning with Charles Ives, who composed in a cut and paste style with sheet music in a way that anticipated what later composers would do with multi-track tapes and mixers. We skip through decades to arrive at "Twisting the Dials", the Happiness Boys' 1928 tribute to late night radio surfing, before moving to John Cage's proto-sampling pieces for radio and tape, "Credo in US" and the "Imaginary Landscapes". We witness the million-selling cut-in records of Buchanan and Goodman and the resulting lawsuits, Richard Maxfield's tape cut-ups of a sermonizing preacher, and conclude with James Tenney's dedicated dissection of a single recording of Elvis: "Collage No. 1", the first 'remix'. http://rwm.macba.cat/ca/variacions_tag Simon Sound Simon did a series of programs which he selected early pioneers from each country, again, well worth a listen: http://feeds.feedburner.com/thesimonsoundtransmission I have all the files if people would like copies m
(313) Sound Design + Electronic Music History
We touched on this a bit yesterday but I thought I'd share these links with people. It's difficult listening in places but very interesting and worth sticking it out. The idea of a completely original piece of music is fairly recent. Music was passed on through sound, through generations, even for centuries after the invention of written music. Only in the 14th century did it become standard practice for a composer to sign his name to a piece of music and claim it entirely as his own, giving rise to the cult of the individual composer. But as recording supplanted sheet music in the 20th century, the presence of communal influence became unavoidably obvious once again as composers began to use recordings to make new recordings. We can now hear the presence of more than one voice. And there is a reason why people don't say they listen to a record – they say that they play a record. From the beginning, recordings have been instruments. The first episode of this overview of appropriative collage in music covers the years 1909 through 1961, beginning with Charles Ives, who composed in a cut and paste style with sheet music in a way that anticipated what later composers would do with multi-track tapes and mixers. We skip through decades to arrive at "Twisting the Dials", the Happiness Boys' 1928 tribute to late night radio surfing, before moving to John Cage's proto-sampling pieces for radio and tape, "Credo in US" and the "Imaginary Landscapes". We witness the million-selling cut-in records of Buchanan and Goodman and the resulting lawsuits, Richard Maxfield's tape cut-ups of a sermonizing preacher, and conclude with James Tenney's dedicated dissection of a single recording of Elvis: "Collage No. 1", the first 'remix'. http://rwm.macba.cat/ca/variacions_tag Simon Sound Simon did a series of programs which he selected early pioneers from each country, again, well worth a listen: http://feeds.feedburner.com/thesimonsoundtransmission
Re: (313) New interviews
On 23 Sep 2010, at 21:01, maxphi...@gmail.com wrote: > http://www.residentadvisor.net/feature.aspx?1245 > > I'm quite surprised at all the negative feedback both on 313 and RA to Rick's > interview, largely on the basis of his comments about the vinyl / digital > debate in answer to just a few questions out of the whole article. I thought > he came off quite well overall. I don't feel people have been that negative, if you're going to be outspoken then you should at the very least expect people to answer back. > > For a remarkably different perspective, check out: > > http://www.littlewhiteearbuds.com/feature/little-white-earbuds-interviews-shed/ > A lot of people didn't seem to like the above interview much, I kinda did :) m
(313) Some tBd Mixes
Morning 313, Here's some mixes from us, mix of ambient and DJ sets. You can also grab them from here: http://soundcloud.com/the-black-dog The Black Dog – Drifting 2 – M:Cast Ambient Mix 1. Lustmord & Robert Rich – Elemental Trigger - Fathom 2. The Black Dog & Sean Bean – Drumhead – Dust Science 3. Jacaszek - Rytm to nie?miertelnio?æ I - Miasmah 4. Brian Eno & Harold Budd – The Plateaux of Mirror – Polydor 5. Labradford – I – Kranky 6. The Black Dog – Wait Behind This Line – Soma 7. Autechre – Yulquen – Warp 8. MLO – Aqua - Plus 8 Records 9. FUSE – Carocell – Plus 8 Records 10. Scanner – PuccScan – DS93 11. Throbbing Gristle – Weeping – Industrial Records 12. Beaumont Hannant – Water & Space – GPR 13. The Black Dog – Witches Ov (Beatless Version) – Dust Science http://www.theblackdogma.com/tbd/?p=1597 The Black Dog - 09. DJ Head Kick 01. Cio D’or – Seide (Tränensalz) – Prologue 02. Lucy & Ercolino – GMORK Dadub Tool – Stroboscopic Artefacts 03. Dinky – Anemik – Wagon Repair 04. Paco Osuna – Looking For V2 – PLUS 8 05. Mark Archer – I Said Funky – DS93 06. DNCN – Kitchener – Dust Science 07. Alec Troniq – I M The Foolaloof (TimsusaVsJanyang Rmx) – Broque 08. Sebrok – Brother, What Time Is It – Paso Music 09. Carl Craig – Darkness – Planet E 10. The Black Dog – CCTV Nation (Slam Remix) – Soma 11. Iori – Dial – Prologue 12. Silent Servant – (Regis Edit) – Sandwell District 13. Terence Fixmer – Electric City – Electric Deluxe 14. Pig & Dan – Organix – Cocoon Recordings 15. Mihalis Safras – There Is A Place (Harvey McKay Remix) – Material Series 16. Carl Taylor – DS27 – Dust Science http://www.theblackdogma.com/tbd/?p=1572 The Black Dog 08. Dark Days, Grey Nights 01. David Lynch – The Air Is On Fire – Strange World Music 02. Gas – Untitled – Kompakt 03. Pan Sonic – Wanyugo – Blast First 04. Nocturnal Emissions – Clear Bells – Earthly Delights 05. Alva Noto – Prototype 8 – Mille Plateaux 06. William Basinski – Fringe Area – Raster-Noton 07. Labradford – P – Kranky 08. White Rainbow – Awakening – Kranky 09. The Black Dog – Gate 21 – Dust Science 10. Lustmord & Robert Rich – Undulating Terrain – Fathom 11. Chris Watson – Vatnajokull – Touch http://www.theblackdogma.com/tbd/?p=1551
Re: (313) New interviews
On 23 Sep 2010, at 16:27, kent williams wrote: > I think that people should produce music how they want to produce, and > be judged on the results. I think if you stand where Rick Wilhite > stands, you'd be justifiably skeptical of digital DJs. I can disagree > with him and still have mad respect for him. Absolutely, I'd have a beer and a slice of pound cake with him anytime. m
