-- Original Message --
From: techno [EMAIL PROTECTED]
On the subject of older techno like 808 State sounding dated, I
would say
that is true especially with techno from the rave era.
With electro, Detroit techno, and older Chicago house from the
Trax era,
Thomas D. Cox, Jr. wrote:
its like they lose the history of the music altogether,
what happened in the past is no longer relevant, the only thing
that matters is what will happen tomorrow. IDM has some great
classic albums: surfing on sine waves, selected ambient works,
etc. but now the music
-- Original Message --
From: Mike Brown [EMAIL PROTECTED]
It wasn't supposed to, it *did* sound hip and sophisticated,
yet quirky and
fun and danceable, which added to its appeal. The technology also was
limited.. 6 and 8 bit samplers with hardly any
-- Original Message --
From: Dennis DeSantis [EMAIL PROTECTED]
I'd qualify this by stating that, while music (and the general
zeitgeist) tends to loop back somewhat, there is also an overarching
sense of two steps forward, one step back. And if you reach
Thomas D. Cox, Jr. wrote:
since all music
is moving along some sort of timeline where what exists before
somehow has some influence on even the newest music, its
impossible to say that any music is no longer having an effect on
the most avant garde music. its part of one huge puzzle, you cant
There's the Neptunes - NERD - and Chad Hugo knows his techno and house and
it's evidently an influence. Timbaland. And if Missy's Work It ain't a
techno/electro record, I don't know what is??
That new Snoop single From Tha Chuuuch To Da Palace has a techno feel.\
Cyclone you live in
and truth be told, a lot of electronic music is released without the artist
making much of anything off the record/CD sales. its kinda a prerequisite
to doing better live shows, which is where the money (if any) is.
Jay Hogie says: BINGO! You gotta move a scheisseload of units before you
make
we can torture them in my basement with trance until they give us their ATM
PINs
:)
you bring the trance and the monitors, that shxt gets no place through my
gear :P
- Original Message -
From: Jason Hogans [EMAIL PROTECTED]
To: 313 list 313@hyperreal.org
Sent: Sunday, December 15,
Date: Sun, 15 Dec 2002 12:44:31 -0800 (PST)
To: 313@hyperreal.org
From: Mike Brown [EMAIL PROTECTED]
Subject: sampling and dated-ness of music (was Re: Cubik)
Message-ID: [EMAIL PROTECTED]
So I wouldn't write off AoN or Yello or Tangerine Dream or anybody else as
sounding permanently dated and
For sampling I still revere Looks Like We're Shy Own Horse by
Colourbox, the best spaghetti western dub tune of all time.
Also love the samples in the acid house era of PTV (water,
that's what I'm talking about, water; now just a cotton-pickin'
minute!, and the Bogart samples from Key Largo).
A
So I wouldn't write off AoN or Yello or Tangerine Dream or anybody else as
sounding permanently dated and more novel than truly clever. Well alright,
maybe YMO... :)
==
Those are fighting words. If you're one of the unfortunates who've not
experienced
At 10:10 PM 12/15/2002, you wrote:
For sampling I still revere Looks Like We're Shy Own Horse by
Colourbox, the best spaghetti western dub tune of all time.
Also love the samples in the acid house era of PTV (water,
that's what I'm talking about, water; now just a cotton-pickin'
minute!, and
I was never a fan of the break beat or drum n'bass but in 1993 I saw DJ
Danny Beakz and it definitely gave me new respect for what the genre was all
about which would eventually evolve into drum
n'bass.
The DMC scratching style with a live MC gave me new perspectiveon on break
beat which was
On Sun, 15 Dec 2002, Mxyzptlk wrote:
A
So I wouldn't write off AoN or Yello or Tangerine
Dream or anybody else as
sounding permanently dated and more novel than truly
clever. Well alright,
maybe YMO... :)
==
Those are fighting words. If
on 12/15/02 10:55 PM, techno at [EMAIL PROTECTED] wrote:
on 12/15/02 5:14 PM, FRED giannelli at [EMAIL PROTECTED] wrote:
Not true. A couple of weeks ago Oakenfold drew less than half capacity in
Boston (the Catholic priest child molesting capital of the world).
telepathic regards,
the
-- Original Message --
From: Dennis DeSantis [EMAIL PROTECTED]
Sure, I'll agree with that. But my making this claim you must
realize
that you've also completely negated your original arguments,
which were:
its like they lose the history of the music
Thomas D. Cox, Jr. wrote:
here's the problem: IDM has gone from being more traditionally
techno/ambient based in the early 90's to being a reaction against
just about anything they feel like going against, mostly melody
and rhythm as far as i can tell. it seems (to me at least) that
its just
-- Original Message --
From: Dennis DeSantis [EMAIL PROTECTED]
I completely agree with your explanation. I just don't hear
these
things as inherently negative.
I tend to really enjoy music that struggles to break out of its
inevitable connections with
This may be BS, but from what I recall, some of the early 90's IDM
artists came about as a reaction to the Criminal Justice Act in England,
which had a piece to it which basically said that if more than 2 people
were gathered in a spot and dancing to rhythmic music, they could be
charged with a
Thomas D. Cox, Jr. wrote:
if a style of music is strictly all
about NOW then its meaning a decade down the line doesnt mean a
thing.
I claim the exact opposite - if a style of music is stricly all about
TEN YEARS AGO then its meaning a decade down the line is wow, that
sounds 20 years
-- Original Message --
From: Dennis DeSantis [EMAIL PROTECTED]
I claim the exact opposite - if a style of music is stricly all
about
TEN YEARS AGO then its meaning a decade down the line is wow,
that
sounds 20 years old.
sure, but so little music is
Thomas D. Cox, Jr. wrote:
sure, but so little music is just straight up derivative.
But I want it to be even less derivative. Revolution!
And yeah, that goes for my own music too...
sure alot of those musics you mention did do things in a new way.
however, you can sit down and listen and
Thomas D. Cox, Jr. wrote:
here's the problem: IDM has gone from being more traditionally
techno/ambient based in the early 90's to being a reaction against
just about anything they feel like going against, mostly melody
and rhythm as far as i can tell. it seems (to me at least) that
its
Hi, can someone tell me a bit about the history on the detroit artists -
Buzz Records connection that existed around 1990-1992?
Is there a website somewhere?
Who ran the label and how did the connection get established?
Thanks, Remco
There was talk recently of the 313 IRC channel on EFnet. I am interested in
compiling a list of popular IRC channels on various networks relating to
electronic music. Please send me the channel name, and the network, IRC
server details. Thanks!
Reason being: I'm building a web portal to provide easy access to channels
across networks, also for people less familiar with IRC technology, and
convenient anywhere access. IRC can't be as good as this mailing list for
quality information but it can be fun.
Steve
-Original Message-
| -Original Message-
| From: [EMAIL PROTECTED]
| [mailto:[EMAIL PROTECTED]
| Sent: Monday, December 16, 2002 8:03 AM
|
| Why does music always have to be labeled? If you heve heard all the music
| containing this genre, than you can make a statement, otherwise please
| don't!
I think
You can use any server connected EFnet. If you are in the UK then
efnet.demon.co.uk is a good choice. The 313 channel is definately on the
list. I am interested in other channels also.
Steve
-Original Message-
From: Brendan Nelson [mailto:[EMAIL PROTECTED]
Sent: 16 December 2002 10:13
Does anybody know who made the Winter-remix of Stakker's Stakker
Humanoid?
If I remember correctly, I've seen that remix on some Deep Heat compilation.
-
Jari Tolkkinen | dj ken-guru | http://www.labra.com/~ken-guru
Jari Tolkkinen wrote on Mon, 16 Dec 2002 about following:
Does anybody know who made the Winter-remix of Stakker's Stakker
Humanoid?
nope, but the artist still isn't stakker. it's Humanoid.
sakke
--
- * time to jack * -
http://www.arabuusimiehet.com/sakke/music.html
At 16-12-2002 +0100 09:06, you wrote:
Hi, can someone tell me a bit about the history on the detroit artists -
Buzz Records connection that existed around 1990-1992?
Is there a website somewhere?
Who ran the label and how did the connection get established?
Thanks, Remco
it was a belgium
If I recall correctly, Buzz was an offshoot from Indisc records, which was
an offshoot from Arcade, a big Dutch TV compilations company.
The man behind Buzz was Jan van den Bergh, now known as Lounge DownTempo
DJ Monte La Rue. I asked him once about that period, he told me that he did
it all for
- Original Message -
From: Dennis DeSantis [EMAIL PROTECTED]
And I never hear it done as well as I heard it done the
first time. So if I want to hear that music, I'll listen to Yello, or
Gary Numan, or Art of Noise, or Kraftwerk. If I want nostalgia, I'll
take the stuff that I'm
and truth be told, a lot of electronic music is released without the
artist making much of anything off the record/CD sales. its kinda a
prerequisite to doing better live shows, which is where the money (if any)
is.
Jay Hogie says: BINGO! You gotta move a scheisseload of units before you
Memo from Alex Bond of PricewaterhouseCoopers
Start of message text
heard that robbie williams has a clause in his contract, where a certain
percentage of the revenues from his concerts goes to the record company.
wonder how they ever got him to sign
- Original Message -
From: jurren baars [EMAIL PROTECTED]
To: 313@hyperreal.org
Sent: Monday, December 16, 2002 12:13 PM
Subject: Re: (313) Moby (cheddar)
heard that robbie williams has a clause in his contract, where a certain
percentage of the revenues from his concerts goes to the
A good place to start listening might be the best of album which I think
they released in 98 after 10 years, its called 88:98 or something like that.
--
Mike
Mann, Ravinder [CCS] wrote:
overplayed imo. But there are similar-era things which I could still go
home
and put on now with
- Original Message -
From: K Money [EMAIL PROTECTED]
To: 313@hyperreal.org
Sent: Monday, December 16, 2002 6:28 AM
Subject: RE: (313) Re: Cubik
This may be BS, but from what I recall, some of the early 90's IDM
artists came about as a reaction to the Criminal Justice Act in England,
Anti ep was released before Amber!
The only things earlier were basscadet ep and the incunabula LP, leaving
cavity job out of this..
Remco
heard that robbie williams has a clause in his contract, where a
certain percentage of the revenues from his concerts goes to the
record company. wonder how they ever got him to sign that contract?
Robbie Williams has signed what is believed to be an -£80m-
contract with EMI Records in
- Original Message -
From: [EMAIL PROTECTED]
To: 313@hyperreal.org
Sent: Monday, December 16, 2002 1:17 PM
Subject: Re: (313) CJB and IDM was - Re: (313) Re: Cubik
Anti ep was released before Amber!
The only things earlier were basscadet ep and the incunabula LP, leaving
cavity job
heard that robbie williams has a clause in his contract, where a certain
percentage of the revenues from his concerts goes to the record company.
wonder how they ever got him to sign that contract?
Not sure if there was sarcasm intended or not, but I'm pretty sure that
clause would exist
hey neil if you are out there can you drop me a line?
thanks
kathleen
ob 313 note: re: the yello etc. as outdated and cheesy thread..i think it
makes a _huge_ difference whether you just _listened_ to the music initially
(as in played the record while just sitting in your house etc.) or if
I've got a CD compilation called The Best of Future Sound Records which came
out on Rephlex in 94 on which the tracklisting seems to be wrong. There are
9 tracks on the disc but only 8 are listed on the cover. Track 4 is a really
nice old-school Detroit type track and I'm trying to find out what
- Original Message -
From: kathleen harris [EMAIL PROTECTED]
To: 313@hyperreal.org
Sent: Monday, December 16, 2002 4:19 PM
Subject: (313) paging neil of CLONKY fame :)
ob 313 note: re: the yello etc. as outdated and cheesy thread..i think
it
makes a _huge_ difference whether you just
does anyone know where the sample used on the first killa bite record is
coming from?
the one that goes:
female voice: pa pa paa du dub dub dub padada du dub dub
also played by derrick may in 1988:
http://deephousepage.com/derrickmaymusicinstitute1988b.ram
13:40 till 15:20
jurren
does anyone know where the sample used on the first killa bite record is
coming from?
the one that goes:
female voice: pa pa paa du dub dub dub padada du dub dub
also played by derrick may in 1988:
http://deephousepage.com/derrickmaymusicinstitute1988b.ram
13:40 till 15:20
I think it
female voice: pa pa paa du dub dub dub padada du dub dub
I think it is a male voice.. and it is lil louis - music takes you away
the third mix on the b-side
Dance Manie 015
OH NO!!
I was wrong it is DM011
Shame on me!
Cheerio,
Maarten Baute..
Here's a sample:
http://homepage.ntlworld.com/erik.jalevik/track4.mp3
- Original Message -
From: P dircon [EMAIL PROTECTED]
To: Erik Jälevik [EMAIL PROTECTED]
Sent: Tuesday, December 17, 2002 1:12 AM
Subject: Re: (313) Future Sound compilation on Rephlex
Any chance of a snippet of
imho the role of big record companies is played out! with new technologies
like cd-rw's and final-scratch the need for a physical copy of the original
album/cd will quickly decrease.
Mmm Hmm. I've thought about ways to make a physical recording appealing
enough to buy. Maybe even making the
imho the role of big record companies is played out! with new technologies
like cd-rw's and final-scratch the need for a physical copy of the original
album/cd will quickly decrease.
Mmm Hmm. I've thought about ways to make a physical recording appealing
enough to buy. Maybe even making the
In a message dated 12/16/02 3:41:12 PM, [EMAIL PROTECTED] writes:
No large (or even medium sized?) record labels, just
musicians who know their business. A zillion little rhythmic
CEOs...
That's where the issue lies. There's not enough musicians who know their
business well enough to really
Amin.
and let us hope... they will learn their lesson one day.
From: [EMAIL PROTECTED]
To: [EMAIL PROTECTED], 313@hyperreal.org
Subject: Re: (313) record industry (technology) [was: Moby (cheddar)]
Date: Mon, 16 Dec 2002 16:47:58 EST
That's where the issue lies. There's not enough
In the future people are going to be able to purchase 16 it and higher
tracks directly from artist, record label web sites on a secure server.
Record stores and distributors will still be around but mostly for
exclusive, specialty products.
on 12/16/02 3:58 PM, xx xx at [EMAIL PROTECTED] wrote:
Francois K on future of Body Soul/techno/etc:
We're trying to find a proper situation for it to exist, we just didn't
wanna continue with what we felt was not the proper atmosphere and
situation for it, Francois says of Body Soul. But I'm also
involved in a lot of other things, I'm doing a
At 04:00 PM 12/16/2002, techno wrote:
In the future people are going to be able to purchase 16 it and higher
tracks directly from artist, record label web sites on a secure server.
Record stores and distributors will still be around but mostly for
exclusive, specialty products.
Or else the
Please just come to Detroit. If it wasn't for finals, I was going to drive
to Toronto to go catch hime last weekend.
I need some Deep House from the master of it.
- Original Message -
From: Cyclone Wehner [EMAIL PROTECTED]
To: 313 Detroit 313@hyperreal.org
Sent: Monday, December 16, 2002
From: Cyborg K [EMAIL PROTECTED]
If you are selling CDs now, I think you have to accept you are selling
packaging, pure and simple. You have to accept that people can find mp3s
of your music for free, and you have to give them a product that is cool
enough that they will want to buy it
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