I'm sure I've heard a BC track in a Carl Craig set before, possibly his
own! ;-) ... But no actually I think it was 'Infinition'. Seeing as he's
mates with von Oswald co, seems likely, ditto with the CR stuff. As
for Hood, there's a well known parting of ways in the tastes between the
pair, so
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,
To balance out some of my recent negativity, I'll link to some of my
favorite all-time music, ever.
http://www.sonicsunset.com/
For those of you who aren't familiar, Sonic Sunset was a long-running
radio show here in Chicago that featured some amazing music for many
years.
Expect deep new
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
Hi Frank,
haven't read these DJ Spooky books yet but here's the link
http://mitpress.mit.edu/catalog/author/default.asp?aid=20608
any other books that discuss music perception ?
davor.
On Mon, Apr 7, 2008 at 8:52 AM, Frank Glazer [EMAIL PROTECTED] wrote:
i recently read this book
On 7 Apr 2008, at 03:36, Southern Outpost wrote:
Can't forget the KLF Chill Out, one of my favourites back in the day.
Yeah, that's a fine album, how they got away with all those samples is
a miracle. Great for driving home from a club.
m
Have you checked out the lengthy list of books, articles etc. here?
http://www.dancecult.net/bibliography.php
Includes material published right up to 2007. BTW, there's a reference to:
May, Beverly. 2006. Techno. In African American Music: An Introduction,
edited by Mellonee V. Burnim and
Arturo Lopez wrote:
To balance out some of my recent negativity, I'll link to some of my
favorite all-time music, ever.
http://www.sonicsunset.com/
For those of you who aren't familiar, Sonic Sunset was a long-running
radio show here in Chicago that featured some amazing music for many
years.
On Jan 28, 2008, at 5:31 PM, Matt Kane's Brain wrote:
Fine citizens,
I am doing the Test Pattern thing I did with Ken Ishii in November,
where I pick an artist to play for an hour. Instead of picking an
artist whose records comprise significant sections of my collection,
I decided to
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
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=UTF8s=booksqid=1207582989sr=1-1
Kw
I think the point Christopher was making is that in Beatport it says
Original Mix which would be a bit misleading since it is a cover of the
*original*
and that there isn't any mention or acknowledment of UR
MEK
Cyclone Wehner [EMAIL PROTECTED] wrote on 04/05/2008 07:57:04
PM:
It's a cover.
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
Well said Kent!
Last couple of years i saw so many of there debates, debates whether
or not techno with only a laptop is bad techno, analogue synthesis is
the way. The thing is that when this whole thing started i had to do
exactly the same discussion but then the thing we had to fight
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
Beatport classifies all versions of a song as an original mix,
unless there's a remix of that particular song. Since it's a cover;
it's considered the Original mix.
+odd
--
On Apr 7, 2008, at 11:51 AM, [EMAIL PROTECTED] wrote:
I think the point Christopher was making is that in Beatport
What do you base this comment on, just your own experience or a wider
view? As a primarily (but not solely) hardware producer I certainly
don't agree with that statement - I neither fear nor am jealous or even
smug about laptop producers, I simply prefer making music with
hardware. Yes, it
Have you read Oliver Sacks book (saw it's paired with the one you posted)
Musicophilia?
http://www.amazon.com/Musicophilia-Tales-Music-Oliver-Sacks/dp/1400040817/ref=pd_bxgy_b_text_b
talks about music and sound from a perspective of neurological disorders
not really academic-level but fascinating
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
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
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
Yeah but that record's rubbish and it's got my name on the label so there's no
way I want that being seen around!
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]
Sent: 07 April 2008 18:32
give them to someone crafty
http://www.eco-artware.com/catalog/MMM2-album-bracelet.php
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
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
I think it often boils down to the coolness factor amongst haters on forums,
clapping each ones shoulder plus the notorious my dick is longer than yours
boogie.
From my experience, above are valid in ~90% of such discussions.
Why give people points for making virtue of a necessity, if
the
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
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
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
Oh don't get me wrong, i don think there is anything wrong with having
a preference on making music with hardware or software or a mix. My
point was simply that most of the discussion i had with people about
if music made equipment Z or by workflow Y is based on some form of
jealousy or
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
1. Judge the results, not the technique.
Totally true, why it's so important what is used if the result is good/right and
deserves the title of 'art' or offers the music to go further. If an artist
records good music using a pure hardware analog modular and another one NI
Reaktor (for example).
Frank Glazer a écrit :
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
Lest we forget, how many absolutely sh1t records were put out in
Chicago and Detroit in the late 80s/early 90s 'golden age' of techno
and house?
We tend to forget the crap, and eventually it's all ground up and
Archer uses it again.
On Mon, Apr 7, 2008 at 2:24 PM, Michael Pujos [EMAIL PROTECTED]
AND/OR the crap gets dug up and sold for DOLLAZ as SUPER RARE CHICAGO
ACID HOUSE TEST PRE on Discogs/Ebay/Gemm
On Mon, Apr 7, 2008 at 3:43 PM, kent williams [EMAIL PROTECTED] wrote:
Lest we forget, how many absolutely sh1t records were put out in
Chicago and Detroit in the late 80s/early
Well, it _is_ SUPER RARE, you gotta give 'em that... :)
On Mon, Apr 7, 2008 at 2:45 PM, Frank Glazer [EMAIL PROTECTED] wrote:
AND/OR the crap gets dug up and sold for DOLLAZ as SUPER RARE CHICAGO
ACID HOUSE TEST PRE on Discogs/Ebay/Gemm
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
while i admire the dude's monodeck engineering skillz, i've found that
what i've listened to by him has been painfully forgettable.
yet, people consistently recommend him, so i'm curious... is there any
monolake release that holds up to the relatively high standards we
have on this list?
agreed. maybe i am not hearing the right thing or understanding how
postmodern it is, and with the understanding at how talented he is
with technology, if feels a bit over my head.
On 4/7/08, Frank Glazer [EMAIL PROTECTED] wrote:
while i admire the dude's monodeck engineering skillz, i've found
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
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
I really liked his ambient Signal To Noise album, I think it's on a
different level to his other releases IMHO:
http://www.monolake.de/releases/icm-05.html
Patrick.
On Mon, Apr 7, 2008 at 1:31 PM, Frank Glazer [EMAIL PROTECTED] wrote:
while i admire the dude's monodeck engineering skillz,
On Apr 7, 2008, at 5:12 PM, Southern Outpost wrote:
I really liked his ambient Signal To Noise album, I think it's on a
different level to his other releases IMHO:
http://www.monolake.de/releases/icm-05.html
He's got some other ambient stuff up for free download on monolake.de
that is also
The bowls on that site are VERY easy to make. Place the center of
record on top of an oven safe large glass bowl and heat in a low temp
over until a bowl is formed. Let bowl fully cool before taking it off
the glass bowl. I've done it to several records that are useless and
currently use them as
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
On Mon, Apr 7, 2008 at 4:31 PM, Frank Glazer [EMAIL PROTECTED] wrote:
while i admire the dude's monodeck engineering skillz, i've found that
what i've listened to by him has been painfully forgettable.
yet, people consistently recommend him, so i'm curious... is there any
monolake release
But it's a lot easier to put ones random software noodlings up as a
download, ostensibly as releasable quality, than it is, or was, to get it
pressed on vinyl and then sold from a location.
-Original Message-
From: kent williams [mailto:[EMAIL PROTECTED]
Sent: Monday, April 07, 2008
Trying to track down tracklists for these
two mixes:
fm5 (not sure who mixed this or where I got it from,
but googling finds nothing) and
dirty jackin hifi mix from Placid (from 313).
Placid?
Anyone know who mixed fm5? That's the only
info that appears in the file.
Thanks.
Andrew
--
-Original Message-
From: Frank Glazer [mailto:[EMAIL PROTECTED]
Sent: 07 April 2008 21:31
To: 313
Subject: (313) monolake
while i admire the dude's monodeck engineering skillz, i've
found that what i've listened to by him has been painfully
forgettable.
yet, people
I would be remiss if I didn't mention Mark Butler's book. He's a
good friend, so my recommendation isn't unbiased, but his work is
really important for high-level academic work that takes the actual
sound of techno seriously. Some basic knowledge of music theory will
help you get through
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?
it was / is a pretty common practice. what do you
But the previous iteration to which you refer was in turn much easier
than the wave before it, when you actually had to get 3-6 (or more)
people to agree on a tune and play in relatively perfectly
synchronization, get into a studio, record it and mix it analogously,
and promote and distribute it.
It's hit or miss, but like Matt said, other people remixing his music
is usually quite good. Check out the Alaska remixes by Surgeon and
Substance, good stuff. That Surgeon remix is such a mean tune.
http://www.boomkat.com/item.cfm?id=24374
Linear Atomium Reminiscence (try saying that three
As far as this original topic goes...I've created music on hardware
and software, and find advantages to both. It is the user's knowledge
and input rather than the machines. The problem I see is usually
between the interface and the chair...not the equipment. I have known
tons of people who
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