Re: [313] techno books
What were dj's doing in the 1800s? Original Message Follows From: Chloe Sasson [EMAIL PROTECTED] ... Dj Culture - Ulf P Amazing book about the history of the DJ from the 1800s up to now Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
RE: [313] Rick Wade (was Alan Oldham comics...etc,etc)
I heard Rick Wade not so long ago and was very disappointed at his selection of what was ninetenths generic discoloops with only an occasional deep house track like the stuff he produces thrown in. What is it with these dj's who play such different music to what they produce? I had similar experiences with Stacey Pullen and Derrick May. It seems like they don't trust the crowd will get the deep and challenging tunes, and instead stick with safe and easy discoloops. When I see someone like Derrick Carter that's what I expect; but with the Detroit dj's I expect more. And I'm not just whinging, because I have definitely been treated to the pure and true stuff before: Jeff Mills and Claude Young come to mind. Maybe it's just the house dj's who aren't confident that the deepness is enough Cheers Rol Original Message Follows From: Batory, Jason [EMAIL PROTECTED] ...Rick subsequently blew me away that night - best set of house I've heard in a long, long time. With respect to the local DJs who complemented Rick perfectly and made the whole night the most enjoyable I've had for ages. Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Re: [313] Postmodern / Futurismo
From: Elliot Taub [EMAIL PROTECTED] You're getting ahead of me. Don't forget Jeff Mills got his start in an Industrial band (the name of which escapes me at the moment... -- Final Cut And before we have this argument--again--I think the last few hundred times we had it we concluded that techno draws its inspiration from multiple and disparate sources; inluding disco, Euro pop, jazz, industrial, funk, et cetera. As to which has had the most influence, I can't imagine us ever reaching agreement on that... Cheers Rol Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Finns?
I've been told by different people that both Luomo (aka Vladislav Delay) and Farben are Finnish. This true? If so, they must be adding something funny to the water over there. The recent Luomo releases on Force Tracks and the Farben releases on Klang have given the minimal house sound a push in a deep and interesting direction. Beautiful techno sounds with a shuffling house vibe. Fantastic stuff. Cheers Rol Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Re: [313] a chord, a string and a pad
Okay, I think I knew what a chord (from my childhood year or two of piano lessons) and string were: though actually I wasn't sure that a string literally referred to a string. Is a string a digitally synthesized sound that resembles a string? or actually a sample of a string? And I'm still not entirely sure that I understand what a pad is. A prolonged ambient sound is my understanding of the answers I've got. Can a chord or a string be a pad? I'm being a pedant, but the reason I want to know is that the music I like is often described as having deep chords, delicate strings and lush pads. I just want to be sure I know what people are talking about. Cheers Rol Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Nightime World Volume II
I heard a few tracks in the record store today of Robert Hood's Nightime World Volume II. Anyone heard the whole thing and prepared to offer a review? The tracks I heard sounded lovely. I understand the album's only being released on cd. What is it with this cd only thing? (Though I'm really happy to see a few track from Aril Brikha's Deeparture of Time appear finally appear on vinyl). Cheers Rol Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
a chord, a string and a pad
A question for all the gear people on the list. I've read these terms lots, and feel like I know what they mean, but I'm not positive that I really do. What is: 1) a chord 2) a string; and 3) a pad? I'm sure that the question sounds stupid to some, but if you don't ask Cheers Rol Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Re: [313] Pooley's Quiet Daze?
In a message dated 4/06/00 1:33:05 [EMAIL PROTECTED] writes: Kind of goes to show how much opinions (well, mine at least) are swayed by knowledge of who the artist is, because I'm sure if I knew 'November' was by Pooley I wouldn't have liked it so much. And A_Zed wrote: Why so? Pooley is an amazing artist (especially his earliest works). Though I would really like factual confirmation that Quiet Daze is actually Pooley himself. And I say: I think hes done some okay stuff, but as someone mentioned earlier he exhausted himself with a million and one sounds like Pooley remixes. Lost a little credibility in my eyes. November is a surprising change, no? And I wrote: I know the thing to do is judge the music on it's own merits, but I'm being honest: it's hard not to be influenced by all the stuff external to the track: the artist, the label, the artwork, etc. All this stuff sets up expectations before the music kicks in. And A_Zed replied: That's a pity because you are probably limiting yourself to great music due to extraneous preconceptions. Im human and subject to the shades of influence thrown at me (most of it intentionally thrown my way: labels and artists go to lots of effort to create an environment around the actual music, through graphic design, track names, etc). Come on, dont be holier than thou and claim you can divorce yourself entirely from all but the music, even if that should be the aim. Who hasnt bought a record on the basis of who the artist was and on what label only to find a few listens later that the ep was actually pretty ordinary? And I guess Ian Pooley has produced a track or two that stands up. Well you obviously haven't heard his material on Definitive records, or those amazing records by his moniker Space Cube and TNI with his co-producer Thomas Gerlach. SpaceCubes Richie Hawtin mix of Pure Tendency on TNI/RS stands out as one of the best techno records of those days. Ian Pooley is part of the seminal techno movement out of Frankfurt (though he is really from Mainz) that includes Alec Empire, Khan Walker and Thomas Heckmann. Meaning hes produced more than a good track or two? Fair enough, your opinion entirely. I do remember, though, playing Two Space Cowboys on a Bad Trip until the grooves wore thin : Rol Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Re: [313] Pooley's Quiet Daze?
A_Zed wrote: Why would it be so that if you liked that track initially, and you found out it was by someone whom you would not rate it would change your view of it? I won't change my mind: the bottom line is that 'November' is a fantastic track, with deep chords and perfectly fragile bass line. I just wonder if I would have given it the same chance had I known it was by Pooley. Would have been my loss though, I agree. Cheers Rol Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Pooley's Quiet Daze?
Someone mentioned a digest or two ago that Quiet Daze is Ian Pooley. I'm a little shocked by this: the 'November' track on the Time:Space compilation is probably my favourite, but Ian Pooley?... Kind of goes to show how much opinions (well, mine at least) are swayed by knowledge of who the artist is, because I'm sure if I knew 'November' was by Pooley I wouldn't have liked it so much. I know the thing to do is judge the music on it's own merits, but I'm being honest: it's hard not to be influenced by all the stuff external to the track: the artist, the label, the artwork, etc. All this stuff sets up expectations before the music kicks in. And I guess Ian Pooley has produced a track or two that stands up. Cheers Rol Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Beyer's homage to D
2-bit review of Conceiled Project: Definition of D: Svek Conceiled Project is Adam Beyer (not so well conceiled) in house mode. Four tracks, all holding back from that compressed techno format hes got down, and instead putting forward the compressed funky house vibe. Think Adam Beyer on Svek and thats what youve got. The pick for me is the b1 track (none have names): funky drums with a scatty female vocal (of the whey hey hey type) and the cleanest of crispest production. Interesting that he puts out his definition of D on Svek. . . . [And on another note, does anybody else think Lido Hotel is the album of 2000 (to June at least)?] Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
RE: [313] DEMF 'Hurt Feelings'
My post has been interpreted as an attack on Alan Oldham, which I didn't mean it to be (the 'stuck in a groove' comment is regrettable). I read Alan's manifesto and I posted in the same straight style he used. (I trust a big shoot-from-the-hip man like Alan will not be offended by the small words of a small Scot like myself). I just wanted to open discussion on what Detroit means now as a sound. The subsequent posts have been unanimous in their attack on me, saying Detroit means all things and nothing in particular (a broad chuch), and Alan is as much a part of it as anyone else. But it didn't used to be like that. Detroit used to mean something much more precise (and Alan was definitely a part of that). That's why we're all on this list, right? We all know 'Detroit' refers (or at least used to refer) to something in music, even if we can't say exactly what that is. It just seems to me that Alan is now closer to present day Europe than he is to present day Detroit (musically speaking, and I don't see that as an insult. I remember him posting something to that effect a few months ago). And with the DEMF happening it's as good a time as any to discuss what exactly it is that Detroit means right now. If it means anything at all. But what do I know... Rol Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
RE: [313] DEMF 'Hurt Feelings'
Alan I think the reason you haven't been asked to play is because you don't play what the rest of Detroit is into anymore. Though I've never heard a set I own a few of your records, which are solid, and have an indication of what you play from the comments you've made on this list. Hard and minimal is my guess, the way Detroit used to do it, and from all reports mixed up in inspirational style. But with the exception of Hawtin, Mills and yourself (and maybe Rolando), it doesn't seem to me that that's what Detoit musicians are into anymore. I think Detroit and I think Carl Craig, Moodyman and Theo Parrish. I think Moods and Grooves and Theorem. They're the ones getting attention for moving stuff forward. I like the Detroit sound you helped to pioneer. But I think somewhere it got stuck in a groove. And the rest of Detroit kept moving on. I still like what you're doing, and I think lots of Europe like it too. I just don't think that your lack of invitation is a personal thing: it's more that your sound no longer represents present day Detroit. I'm keen to hear how you (very very lucky) people at DEMF sum up the Detroit sound circa 2000. Cheers Rol Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Re: (313) adam beyer in detroit
It's pretty silly dividing dj's into European and American. There's good and bad in both. Granted, my favourite dj moments have been provided by Americans, but I've seen some excellent European performers: I just saw Herbert lay down a very solid set Saturday night. I've seen Beyer twice and thought he was pretty good. He does what he does: hard techno. I'm sure if you asked he'd tell you he's been inspired by the usual Detroit suspects. It's really stupid to throw him in with the Eurotrance cheesemeisters. And talking about Herbert, he put on a great live show before he dj'd. Hard to tell what he was doing exactly. He had Dani Siciliano on vocals, and someone (whose name I can't remember) on keyboards, and he was running back and forward between a whole lot of equipment, throwing live samples into one of three microphones then running back to his sampler and doing silly stuff with it. He was doing the same sought of thing with Dani's vocals. She would sing fairly straight into one of the microphones, get her voice sampled in another and then in the third I think Herbert was running her voice through a bunch of effects. It looked a little chaotic, but everything played smoothly. I think the backing drums were running off a DAT, because all the tracks were discrete, rock and roll style, with room for applause before the next kicked off. Anyway, there's a European doing some innovative stuff. Cheers Rol Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Re: (313) vocals and whatnot
The new metacrawler (number 10) has both James Ruskin and Oliver Ho floating a female vocal over funky techno drums. A friend thought the sample was familiar: anyone? Cheers Rol Original Message Follows From: The Deliverator [EMAIL PROTECTED] [snip] On a completely different trip, I was wondering if anyone out there could recommend some good techno with *tastefull* vocal samples. I really like the mills' style of vocal use in 'if'- the vocals are there, but are treated like any other instrument. They don't overpower the song. [snip] Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
Re: (313) paul mac on ognaku
Maybe that should read Ongaku... Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
