DeepChord - Vantage Isle

groovemaaan did you check for the recent echochord release?

is this really better than the 565854 chain reaction netlabel ripoffs out there

yep

i can't help but be suspicious of a 2x12" + 7" release for ONE song

Notes: Written & Produced in Detroit, MI by Mike Schommer & Rod Modell for their performance @ the Detroit Electronic Music Festival (D.E.M.F.). Re-mastered and transfered from reel to reel tape recordings by Rod Modell. Pre-mastering & engineering by Stephen Hitchell @ Studio 312, Chicago. Gerard Hanson appears courtesy of Down Low Music and Matrix Records, Detroit. Mastered and cut by Ron Murphy @ NSC - National Sound Corporation, now Sound Enterprises, Detroit, MI. USA. Limited to 1000 copies worldwide. The 7" is pressed on either clear, purple marble or grey marble coloured vinyl . Comes packaged in custom plastic sleeve.
Distributed worldwide by Rubadub, Scotland, UK.

LOL @ otaku-nerdz

groovemaaan did you check for the recent echochord release?

not yet, should I?

wow I feel so contemporary, actually having heard this already. I love the last two tracks, hate the trancey bits. the first few are just there.

it is good to see that this is getting some love on ilm.

Vantage Isle is good enough but I don't really hear what elevates it above the material collected on Rod Modell's Vibrasound CD from a couple of years back.

now this new 12" on the label, cv313, is really good stuff. (while you know, still being incredibly derivative). 2 looooong sides, A has more bounce (nice little bassline), B is focused on a series of percussive loops (i love it when deepchord go a bit tribal). perfectly produced, covered in hiss but very detailed. the vibe is more Maurizio than Basic Channel, but it unfolds much more slowly and is more actively structured (but less actively banging). not saying this is going to redefine anyone's view of music but it's niiiice.

DC Mix 3 is the one that really moves me. It's a shame it's not spread over a full 12" side.

I really want to here this cv313 but needless to say this stuff ain't that easy to come by.

yeah, I'm looking forward to the CD mix of Vantage Isle. impractical formatting... that + the cost mean I'm yet to take the plunge.

the stuff is easy enough to acquire if you're in Europe. I think in America your best bet is to email Soultek directly.

CD version.

The album coming out on Modern Love should have much better distribution.

Which is the best of the four ...Presents Echospace 12"s? Loved Vantage Isle and the two Rod Modell 12"s I have...

Part 2 or 3

I tried to order the CV313 from Dope Jams last week but they refunded my Paypal and said they tried to special-order it but couldn't get anymore. I really wanna hear that one.

is this really better than the 565854 chain reaction netlabel ripoffs out there

-- ☪, Friday, 22 June 2007 20:28 (1 month ago)

yep

-- creme1, Friday, June 22, 2007 8:31 PM (1 month ago) Bookmark Link

from what i've listened to: nope

Listen to the first couple of Octal records, and listen to the RECORDS not mp3z ripped from $100 usb turntables.

y

Because the whole point of those records is that they are ear candy for fidelity nerds.

The SOUND is the whole point, and you don't get a clear picture with an mp3.

i'm glad that even though my turntable cost me $100, it does not have a usb hookup

i'd hate to be on the wrong side of deepchord fans

listening to vinyl rips of deepchord records is pretty pointless, yes, but all those echospace modern love ones are available as 320 kbps digital mp3s.

i don't really like this label though. claude von stroke remixes? what? the soultek one on that is wretched. and the model 500 release is mediocre. techno nerd record porn.

and yes i'm listening to shoddy vinyl rip mp3s of those releases, but i own enough octal vinyl to know these aren't even close to being worth the ridiculous prices, despite the fidelity issue.

http://www.discogs.com/release/45234

The sad thing is that this is one of the best things Rod has done, and the original pressing was only 350 copies. I have one and it is one of the best sounding records I own. He really nailed it on this one.

Octal 2 and Ridis on Chain Reaction are my two favorite non-BC, non-M series dubby techno records.

Octal 1 rather...

Octal 1 is the only one I don't have. I noticed someone was selling it for £20 on discogs last week which is a 'deal' as far as these things go but I'll survive.

love love love this. is there a general Rod Modell S/D thread anywhere? because i'm also completely obsessed with the "plays Michael Mantra" release, and i'm wondering if there's other stuff out there as good.

i fell for the "coldest season" hype and picked up the CD. will listen to it soon (i've only heard snips) and get back to y'all

i like track 7 and 8 of that cd somewhat but the rest seems pointless

hey am0n guess where this is from!!!

A few years back, we were enraptured by a strange alien sound, one that opened our ears to a whole genre we had ignored for the most part up until then, an offshoot of techno that eventually became affectionately (and surprisingly accurately) referred to as 'heroin house'. A strangely propulsive sound mired in dense fields of hiss and murk, of fuzz and blur, the beats relegated to a distant pulse. The label was Chain Reaction, and its tiny stable of bands, Fluxion, Matrix, Hallucinator, Substance, Vainqueur, Porter Ricks, Monolake and a few others, completely changed the landscape of techno, and had us all in a frenzy. Albeit a nocturnal druggy soporific one...

It's one of THOSE SOUNDS we always go on about. Like old school ragga jungle or black metal buzz, a sound that is so pleasing to our ears, we could almost listen to a simple loop of those sounds forever. The Chain Reaction sound is another, gorgeous and creepy, moonlit and languorous, the perfect music to drift off to, or to troll the dark rainswept streets of some mysterious European city...
All the tracks here are super creepy, slow motion, underwater muted blurs of abstract techno, where the beats seem like more a byproduct of the soundmaking than the reason for it. Some tracks do thump and bump but others merely drift in a thick haze of hiss and crackle. Basslines are deep and rubbery, drenched in reverb and pulled apart into super spare space dubs, bits of percussion are sent careening into a black void, but it's the textures and the ambience that make this record so special. The opener spends the first half of its 6+ minutes offering up huge slow motion crashing waves of surf like static, of buried melodies and off fuzzy shimmer, before any beats even surface, and when they finally do they pulse and throb for a couple minutes before they're swallowed up by the wash of soft white noise. In fact, in addition to sounding underwater, it sounds like the whole disc is being broadcast over a radio between stations, all the sounds wreathed in sonic gristle and buzzy static, but all smeared into huge billowing clouds of sound.
Most of the tracks definitely have a groove, a super slithery abstract alien funk, but more often than not, it's buried beneath gorgeous layers of constantly shifting sound, offering up some barely audible thump, a four on the floor framework for the glacially shifting tectonic sonic plates above. But there are some that don't, like the 11+ minute "Ocean Of Emptiness", a muted smeared ambient drift, that sounds like standing on some vast windswept snow covered plain, under a black sky, watching the snow fall, each snowflake a tiny bit of hiss or crackle, coming in epic waves, glistening and glimmering but strangely warm and inviting. Our favorite track might have to be "Winter In Seney", which sounds like a more dubbed-out Gas. A warm swirling hissy gristly minimal smear, sprinkled with bits of record crackle, and haunting echo drenched bits of glitch and melody, the whole thing wrapped in a gorgeously hypnotic, super spare rubbery bassline, the notes blurring into each other, spreading out like a thick black cloud of dub, totally and utterly mesmerizing.

There's been so much amazing techno lately, lots of Kompakt
action, The Field, Gui Boratto

Some of it is really good and some of it isn't. I have only listened to a few tracks in depth, usually this just plays in the background while I do something else. It is hard to give it the attention it deserves because of all the pop ambient comps, Gas, Ulf Lohmann, Loscil, William Basinski, and Thomas Koner stuff I have been playing lately. There is no shortage of good music these days.

looooooool @ aq

so i listened to this last night and i really enjoyed it.

but i did have to wonder: are there 565854 chain reaction ripoffs out there because the originals don't actually have completely unlimited replay value?

I think it has more to do with the fact that basic channel has huge fanboy cachet. IOW nerdy guys who would be more likely to make records are really into this kind of stuff.

It is like that BC thread that mentions how cool the tshirt is and nobody realizes that the people who actually wore the shirts in the 90's when you could get them at Recordtime were serious nerdz.

all the people i knew in the late 90s who were really into BC were also really into schematic, cristian vogel, drexciya, tortoise, kranky, rawkus and certificate 18.

yeah, nerds.

what music out there has completely unlimited replay value though? (maybe a separate thread.) i guess i could listen to stuff like basinski or gas or the eno ambient box on endless repeat. i could also probably make a rhythm and sound comp that would bear unlimited replay (a bunch of the dubs).

i think the coldest season works best listened to as a whole and i bet it will sound great on a bleak midwestern winter day. it would be cool to hear a really stripped down version.

i just wanted to point out how "listening to this stuff on unlimited repeat forever" is now the default critical trope for talking about heroin house. this isn't surprising because a lot of drone capitalizes on some sort of sense of being outside of time but then it's funny that people sort of take it seriously when really would anybody assume that you could listen to, i dunno, carl craig on endless repeat for the rest of your life?

heroin weed house

Weed Beat

weed house

(embarrassingly RONG in the 1st of that thread)

i suppose the thing that seperates rod modell from the "565854 chain reaction ripoffs" is his dedicated use of purely analog instruments and recording devices etc? it's a point that seems to be mentioned in every review i've read of the echospace series - must lend it hella cred with "nerds" eg. the boomkat crew

We've always been way into Monolake, with their murky hazy "heroin house" sound, all muted four on the floor beats, but as if you were hearing them through the wall from next door. For the last few years though, the haze seems to have been clearing gradually revealing a whole new Monolake, each release a little more polished, a little more uptempo, a little more, well Kompakt. This definitely sounds like it belongs on Kompakt, which is in no way a bad thing. Well, it is maybe if you were still looking specifically for that murky Chain Reaction drugged out techno sound, but hell, we love Kompakt, and that slick thumping skittering Kompakt minimalism. So now we have Polygon_Cities, which is just that, a minimal pulsing slab of modern electronica, clipped beats, and shuffling IDM-ish rhythms, stark and spare, but with warm synth swells and brief flurries of crumbly distortion and bits of that dubbed out Pole sound we used to love so much. Super laid back and smooth, kinda like what we imagine you'd hear in some Eurotrash opium den resting up for your next undercover spy misssion, or maybe the music that plays in a sci-fi movie while you're having your retinas scanned by some beautiful cyborg.

"i just wanted to point out how "listening to this stuff on unlimited repeat forever" is now the default critical trope for talking about heroin house. this isn't surprising because a lot of drone capitalizes on some sort of sense of being outside of time but then it's funny that people sort of take it seriously when really would anybody assume that you could listen to, i dunno, carl craig on endless repeat for the rest of your life?

-- moonship journey to baja"

carl craig is awesome, but his tracks arent nearly as endlessly listenable as BC or R&S records. i literally have been listening to some BC related music nearly every day for almost 10 years at this point. it just doesnt get old! the tracks are hypnotic and not nearly long enough, even when they approach 20 minutes in length.

not sure about BC being strictly nerd music either, it was really being banged out by basically every decent techno deejay. unless any techno deejay automatically is "a nerd", to sum it up like that doesnt make much sense. granted, the BC copycat clique seems to be mostly nerds but that wasnt the extent of their fanbase.

god i wish the AQ people would expand their listening base. and maybe visit europe while they're at it. then maybe they could show me these famous "eurotrash opium dens" they're going on about, because i've never seen any over here.

not sure about BC being strictly nerd music either, it was really being banged out by basically every decent techno deejay

The BC sound, especially in 2007, has a lot more techno nerd appeal compared with what Chris Liberator was doing back in the day. The proles weren't caning Quadrant and Main Street then and they aren't caning Quadrant and MS now. They play bad lowbrow hardhouse and trance...

Rod's real cred is that he has been making these records since the 90's and he kept making them long after it was cool. Remember when microhouse and glitch were the cutting edge shit? He kept making chord stab records on 12 bit samplers when it wasn't the thing to do. His sales reflected this, which is why his stuff is worth so much currently. Nobody was buying it then, and the editions were small because of that. Early deepchord first pressings ran into about 1200-1500 records, the later ones were down to around 600 IIRC.

i literally have been listening to some BC related music nearly every day for almost 10 years at this point. it just doesnt get old! the tracks are hypnotic and not nearly long enough, even when they approach 20 minutes in length

see what i mean

back to deepchord .... aaaaaarhrhgrhghrghh ... "elysian" is so fucking massive

"The BC sound, especially in 2007, has a lot more techno nerd appeal compared with what Chris Liberator was doing back in the day. The proles weren't caning Quadrant and Main Street then and they aren't caning Quadrant and MS now. They play bad lowbrow hardhouse and trance...

Rod's real cred is that he has been making these records since the 90's and he kept making them long after it was cool. Remember when microhouse and glitch were the cutting edge shit? He kept making chord stab records on 12 bit samplers when it wasn't the thing to do. His sales reflected this, which is why his stuff is worth so much currently. Nobody was buying it then, and the editions were small because of that. Early deepchord first pressings ran into about 1200-1500 records, the later ones were down to around 600 IIRC.

-- Display Name"

i mean, if the only non-nerd techno music is lowest common denominator music like Chris Liberator or whatever, then i'm just not sure what to say. the deep house guys were playing Main Street and R&S records (see the list of mix CDs and whatnot that were playing Round Two, for example: http://www.discogs.com/artist/Round+Two ) and the banging techno deejays were playing the harder BC material and the more Detroit influenced techno deejays were hammering Maurizio, Quadrant, and Phylyps Trak II amongst others. it certainly wasn't just some white guys with thick glasses and bad acne all trying to play nothing but copycat records!

rod's consistancy is one reason why i try not to be overly critical of his tunes, he is one of the few who have been copying BC since day 1. but aside from a couple standouts (and his ambient material, which i find much more interesting than the DC stuff for the most part) he is still guilty of just rehashing the same area of material without nearly as much distinction as R&S had. i really *want* to like more DC stuff, but i find i never feel like listening to it. i have the DC CD, and i listen to the BC:CD and the R&S CD and the Main Street CD each 100 times for every time i listen to the DC CD.

You cannot fully understand this music unless you have snowmobiled the perimeter of Iosco County in February (at night).

Once bumped into an internationally famous dub techno producer here:

Tally Ho Inn

Address:
Tally Ho Inn
7933 Lakeshore Road
North Lakeport, MI 48059

Phone: (810)327-6242

Email: TallyHo✧✧✧@a✧✧.c✧✧

Tally Ho Inn has a old-time English tavern atmosphere. Fun for the entire family, with it's old time sing-along every friday and saturday nights that is at the public park and beach nearby. Camping, cottages nearby.

(Get the vegetarian pasties.)

"i literally have been listening to some BC related music nearly every day for almost 10 years at this point. it just doesnt get old! the tracks are hypnotic and not nearly long enough, even when they approach 20 minutes in length

see what i mean

-- moonship journey to baja"

but the reason it comes back to that is that the precedent was set by Rhythm and Sound, dating back 15 years at this point! if you cant live up to that standard, i'm not going to be very impressed. theo parrish can do those long tracks like that, he is one of the very few.

"i just wanted to point out how "listening to this stuff on unlimited repeat forever" is now the default critical trope for talking about heroin house. this isn't surprising because a lot of drone capitalizes on some sort of sense of being outside of time but then it's funny that people sort of take it seriously when really would anybody assume that you could listen to, i dunno, carl craig on endless repeat for the rest of your life?"

do you mean that the general critical application of the term "heroin house" is lazy? or that carl craig is heroin house? or that carl craig is the real peer to the sound of music being discussed on this thread (admittedly the same as my first question)? outside of time takes on very different meanings given that last context. would the deepchord guys make something like "jam the box"?

has anyone else heard the moritz von oswald remix of tony allen? it is stunning and i hate that word.

but the reason it comes back to that is that the precedent was set by Rhythm and Sound, dating back 15 years at this point! if you cant live up to that standard, i'm not going to be very impressed. theo parrish can do those long tracks like that, he is one of the very few.

Don't forget about Juan Atkins epic jams from about the same time.

"Don't forget about Juan Atkins epic jams from about the same time.

-- Display Name"

but also dont forget that juan was working with Moritz from BC on the 3MB material in 93 as well as Moritz remixing "Think Quick" by Infiniti in 94! certainly the BC guys were influenced by the Detroit guys, i would never dispute that, but as BC are the most direct influence on the dub techno genre, it is their standard that everything that came after is held to....

do you mean that the general critical application of the term "heroin house" is lazy?

yes. i mean, i don't have any problem with calling this or that "heroin house" because yes its good shorthand for "sounds like basic channel" but please get one new way to think about / talk about drone-y musics

the best 3mb for this discussion is not the juan stuff, it's the eddie fowlkes records. fucking 'illuminism' and 'famous last words' are almost as good as quadrant and m-series and just as repetitive.

the reason i checked out the Echospace cd, even though i've never cared for anything i've heard by DC, was because of:

the sound these two have conjured up hews crazily close to Chain Reaction, but manages to make it sound modern and new at the same time.

(lol aQ)

i'm not sure what's supposed to sound modern or new about this album. it is obviously crafted with love, and sounds great on headphones, but that's kind of a pre-requisite for this type of music, isn't it? this album just doesn't have a lot of personality - why would i ever listen to this over Fluxion's Vibrant Forms II, which is what this album reminds me of more than anything else.

maybe this type of music just doesn't really need to be made any more because the limits of the sound were fully explored ten years ago.

Yes, I agree completely.

"maybe this type of music just doesn't really need to be made any more because the limits of the sound were fully explored ten years ago.

-- rockapads"

im not sure that it need to be given up entirely, but alot less exploration is needed. a little quality control, if you will. those huckaby remixes of deep chord on synth from '05 were pretty great, as was the luke hess ep on fxhe.

Thanks for the Eddie Fowlkes tip, nice stuff!

^^ lol n00b

yeah baby, i know what you mean
yeah baby, i know how it really feels

oonch oonch oonch oonch

^^ LOL it's "untz untz untz untz" you n00b

Heh, from a 2004 DC thread:

Deepchord: the Stray Cats of Berlin dub
-- Andy K (Andy K), Wednesday, 28 January 2004 18:53 (3 years ago) Link

Also, in response to:

all the people i knew in the late 90s who were really into BC were also really into schematic, cristian vogel, drexciya, tortoise, kranky, rawkus and certificate 18.

-- moonship journey to baja, Monday, 12 November 2007 18:52 (1 month ago) Link

Vahid, you didn't even KNOW me in the late '90s. Stalker.

I'm suspicious of a lot of this stuff, basically for all the reasons articulated (or implied) upthread. From the sound to the presentation to the track titles (Jesus, "Vantage Isle" might as well be a Porter Ricks record), this stuff seems incredibly derivative, no matter how well done. But I just got a promo of Rob Modell's Incense & Black Light (Plop) and it seems like he's venturing into more interesting, individual territory -- it's darker, more abstract, almost (perhaps) like sanded-down industrial at times. Interesting enough to keep me coming back for a while, anyway.

What isn't derivative these days?

A valid question, but I think the DeepChord material, at least the early stuff, is so extensively derivative (in the non-pejorative sense) from the orginal Chain Reaction dub-techno template, you can't really talk about the stuff without considering its debt to predecessors.

what a question! lots of stuff isn't derivative...

baleric revival to thread.

see also acid/electro/disco and anything with a nu- prefix.

wow i guess that covers everything!

how is your life going vahid?

you are very clever, but you just seem to lurk around here so that you can be nasty to people.

i don't think these guys are any more derivative than most other nu-prefixed genres or uh, minimal. it is just that the bc sound palette is so distinctive. ts: being derivative of music 10 years old vs. being derivative of music 20 years old etc etc.

i'm not trying to be nasty! i'm just surprised that you think *everything* is derivative, at least to the same extent that this deepchord stuff is.

there's a difference between derivative in that it builds on some older music (say, quiet village project or cobblestone jazz) and derivative meaning it would fail the blind taste test between itself and actual old music (map of africa or deepchord)

if you think that was vahid being nasty, you haven't spent much time around here. and for what it's worth, for once i'm siding with vahid. i think the problem here might be with the connotations of "derivative." i'd say the DC stuff is exceptionally derivative because it derives so clearly from the BC/CR stuff. (please note i don't mean "derivative" as pejorative, not necessarily anyway.) contemporary minimal, as dully uninspired as much of it can be, isn't derivative in the same way because it's not aping a single source. today's cookie-cutter minimalism isn't all trying to pass itself off as a long-lost rob hood or DBX record, say. sleeparchive is derivative, in the literal sense. the rest of the stuff is just (very often) hive-minded, but without the same single point of origin that the DC stuff has.

btw, i spent about 5 hours listening to various deepchord projects last night, and i have to say i'm really coming around to it.

i don't quite understand why they decided to release an avalanche of 12"s this year. there was a trickle of releases around 2000 / 2001 and then this year they have been churning them out like there's no tomorrow. personally i can take it or leave it. the more they have churned out, the less i have paid attention.

I have been around here lately and I see what goes on. I do think it is part of a much larger pattern of being a general bitch. It is to the point where I consider not being a part of this board anymore because it is so pointlessly negative. Vahid is a very big part of this dynamic.

I do think music is derivative. There is a finite palate of human emotion and while you can blend and vary shades to an infinite degree, there is still only some much that can be done or said with it. After a couple million years of banging, plucking or blowing on whatever is at hand we have pretty much said it all.

you can switch it all around and change the window dressing, but at the end of the day it all boils down to how you arrange frequencies and time.
There aren't any new structures, there aren't any new frequencies, and there aren't any new uses for music that we didn't have before. Basic human needs haven't changed much over the years.

There isn't much new out there. The window dressing might be a little different, but everybody is basically saying the same thing the same way when you look at the underlying structure and function of dance music.

http://i185.photobucket.com/albums/x237/oddpal/waahmbulance.png

speaking of dicks on ilm...

<I>There isn't much new out there. The window dressing might be a little different, but everybody is basically saying the same thing the same way when you look at the underlying structure and function of dance music.</i>

Then why talk about individual tracks, artists, or subgenres at all then?

you can switch it all around and change the window dressing, but at the end of the day it all boils down to how you arrange frequencies and time.
There aren't any new structures, there aren't any new frequencies, and there aren't any new uses for music that we didn't have before. Basic human needs haven't changed much over the years.

there haven't been any new wavelengths of light for the past 13.7 billion years. nothing you haven't seen before.

the nature of DC's relation to BC is

obeying physical law is not derivative. but i suppose that our time relationship with music has been fairly static for as far back as i have heard music. the intervals are relatively similar. but i think that there are some composers working in new ways (see 600 year organ song)

i just take issue with this issue of frequency

issue issue? oops

usually I prefer good and "derivative" over good and "ground-breaking"

you can switch it all around and change the window dressing, but at the end of the day it all boils down to how you arrange frequencies and time.
There aren't any new structures, there aren't any new frequencies, and there aren't any new uses for music that we didn't have before. Basic human needs haven't changed much over the years.

where do you start with statements like these? i think i'd rather you go back to your whining about the state of ilm.

There is a passage in Eno's diary where he talks about seeing a chair from ancient Egypt in museum. He said it reminded him of something you would see in an Ikea catalog.

We haven't changed too much since then. The window dressing has changed over the years, but the structure remains static.

You might want to look into a book called Moving History/Dancing Culture: A Dance History Reader. It was compiled by Ann Dils and Ann Cooper Albright.

It looks at dance from an anthropology/cultural studies perspective. It is a good read and I think it might help you understand what I am getting at.

Humans have danced for a long time. We haven't come up with anything new.

My trance state isn't too different from my ancestors trance state.

Display, I see what you're getting at, but I still maintain that such a perspective doesn't do you much good if you're interested in describing what differentiates a minimal techno track from a bagatelle.

I think the differentiation has been clear since Love In C Minor or I Feel Love.

At this point in the game dance music has been chasing its tail for so long that authorship is kind of a moot point by now. We all steal bits from other peoples records and put them together in basically the same structure.

It isn't a good attitude if you have to generate copy in the magazines that sell the stuff. We have to make new music and put it in a new box in order to give people a reason to buy records they basically already have. That isn't a dig at you Phil, I think you are a good writer. I don't do what you do, I have the luxury of not having to think that way.

I am more interested in big pictures and seeing what ties things together. I think the importance of authorship and personality was a weird little bump in the road that is still left over from the 20th century. As music becomes more faceless, quicker, and momentary, the importance of who made what first isn't as important.

I don't care if a jazz record came out yesterday or 40 years ago. If I enjoy listening to it, that is enough. Everybody is stealing something from somewhere. Even if you think you are doing something completely original, there is a record from the last 30 years that already did it.

as music becomes more like data, you need more quality control.

Yeah but Deepchord is still some ripoff bullshit you tard. Fuck sake.

Vahid = pointlessly negative?!

Vahid = pointlessly awesome, he's the iranian asshole I wish I had hovering over all my overly hagiographic artists.

Well rearrange that in english as all the artists I'm making hagiographies of and you're nearly there. Mr. V PHD.

display, would you like to show us how you came to know all this so certainly?

do you have a library of every potential record that could ever be made that you compare new releases with to verify non-innovation, maybe maybe like an audio analogue to the color wheel where you can actually show us that yes, everything has already been done? i'm interested in your methods, this is groundbreaking shit!

I am absolutely sure that every single thing that could possibly ever be done with audio has been done. I think that every possible combination was achieved on June 7th, 2004 and there is no point in doing anything ever again because we finished this project called music.

Unfortunately, I cannot show you the data. It is stored two miles below ground in a government installation somewhere in Virginia. By utilizing advanced AI composition algorithms, the Library Of Congress for a sample library and vast cluster computing, the CIA actually has the next 50 years of recorded music at its disposal.

I am not at liberty to say very much, but I can say that the analysts believe that 2011 will be a hoot.

There is a passage in Eno's diary where he talks about seeing a chair from ancient Egypt in museum. He said it reminded him of something you would see in an Ikea catalog.

....

My trance state isn't too different from my ancestors trance state.

yeah yeah future primitive groovy maaaaan.

you have to ignore context/culture for these over-arching statements to be true.

techno hippie shit rules!

i think there's an element of ignoring context involved in calling something derivative cuz there's derivative of what and then derivative to whom.

i also think it's possible for similar musical ideas to evolve independently of each other.

Shhh, Sunbeam and Moon Flower(my wife and daughter) sometimes read these threads over my shoulder and they get upset when people make fun of flower children.

You should join my tribe at Burning Man next year. I will build you a room in our hut and we could bond over ethnogens during the Terrence McKenna conference.

Love is all and love is everyone. You've got a lot of hang-ups, man.

eno >>>> burning man!

baby ford >>>> burning man

i was busy being amazed by "eight miles high" this morning so what do i know?

Every good teepee should have some Baby Ford, Brian Eno, and some Red Planet records for good measure.

After I finished this bowl of organic granola, I think my squaw and I are going to go bead shopping this afternoon.

I hear the bead shops have some killer sales, post-Xmas.

I think the importance of authorship and personality was a weird little bump in the road that is still left over from the 20th century.

I dunno. I like tracks w/ "personality" (but I don't think that the "personality" of the maker needs to be illustrated in his/her art).

i also think it's possible for similar musical ideas to evolve independently of each other.

totally! see black devil. but deepchord did not do this.

hmmmm

"vantage isle" is pretty good, but having fully absorbed it now, i think the "starlight" set was a lot better

i'm kind of warming up to DC lately. i started listening to the coldest season again searching for production ideas, and the song Elysian just hit me really right. i love the beat on that song. vantage isle sessions are nice, too. maybe the stuff isn't the most original, but it can definitely hit the spot when i'm in the mood for this stuff.

elysian is the killer track on that album

Don't forget about Juan Atkins epic jams from about the same time.

-- Display Name

just listened to the 18-minute mix of "i wanna be there" on my drive home tonight ... CRAZY.

very cosmic vibes on that track, much more lindstrom (!) than basic channel, i think.

You can't go wrong with the stuff. That era of his production is so under-rated. His early eletro stuff gets all the attention but he really hit his stride in the early 90's. This has been getting a lot of play as well:

http://www.discogs.com/release/1074790

"But I just got a promo of Rob Modell's Incense & Black Light (Plop) and it seems like he's venturing into more interesting, individual territory -- it's darker, more abstract, almost (perhaps) like sanded-down industrial at times. Interesting enough to keep me coming back for a while, anyway.

-- pshrbrn"

this one is my current favorite DC related release. he definitely hits on ideas and textures here that are much more individual sounding than most of the more straightforward BC rip offs. i did like the Pacou and aaron carl rmxs too though, nice housey jams for the dancefloor. for me these are all much more interesting than their recent mega-pack releases (starlight, vantage isle, coldest season, etc).

i like the conversation earlier about music doing essentially the same thing. i feel like it is really much more limited in what it can do than people are willing to admit. dance music especially has conventions that work really well and have done so for a long time, no matter what you do to it. i dont think this is a bad thing though, it means that instead of trying to reinvent the wheel (like so much DSP wankery aspires to without coming anywhere near doing it effectively) artists should attempt to make a personal sound. rod modell seems more than capable of this when he does ambient, but when he drifts into BC copycat stuff it is just not good for me no matter how good the audio quality is or whatever.

"You can't go wrong with the stuff. That era of his production is so under-rated. His early eletro stuff gets all the attention but he really hit his stride in the early 90's. This has been getting a lot of play as well:

http://www.discogs.com/release/1074790

-- Display Name"

juan is basically the man, no matter which era of his music you consider.

elysian is the killer track on that album

"Celestialis" jumps out at me too, tho. But really whenever I put on any track off that album, I usually end up saying fuck it and starting it from the beginning and listening to the whole thing. I heart that record.

And I very much dig the Vantage Isle CD, and I am going to find the "Starlight" set right now because I lack it in a severe way and I kind love this shit.

Dumb question - is there a difference between the Vantage Isle Sessions CD and the 2xLP + 7" version?

hmmm... you tell me.

01 Vantage Isle (DC Mix I) 08:42

02 Vantage Isle (Echospace Glacial) 03:12

03 Vantage Isle (Echospace Reshape) 08:50

04 Vantage Isle (Spacecho Dub) 02:57

05 Vantage Isle (DC Mix II) 07:26

06 Vantage Isle (Spacecho Dub II - Extended Mix) 10:41

07 Vantage Isle (Convextion Remix) 07:52

08 Vantage Isle (Echospace Reform) 03:38

09 Vantage Isle (Echospace Spatial Dub) 06:03

10 Vantage Isle (DC Mix III) 05:48

11 Vantage Isle (CV313 Reduction) 05:18

12 Vantage Isle (Echospace Excursion) 06:12

13 Vantage Isle (CV313 Reduction II) 03:01

Gotcha. Bummer. Never did locate this on vinyl...

also lol at a fight breaking out in the middle of a thread about some deeply chilled and weeded music. You people, i swear.

any connection between vantage isle "spatial dub" and "convection reduction" and the spatialdimension "convection reduction"?

http://img83.imageshack.us/img83/3346/97083922zo9.jpg

two trax have paul st. hilaire. how fresh 'n' original!

could they seriously not find their own guy with an island accent? they just had to use rhythm & sound's guy. i don't know why this bothers me lol.

seriously i can do a pretty badass impression of paul st hilaire

they should've got junior reid

review from guesswhichrecordstore:

Intrusion is the solo project of Steve Hitchell, who alongside Rod Modell forms the impressive heroin-house meets dub-factory duo Echospace. Just as Modell's solo recordings don't veer too far from the Echospace mantra, the Intrusion sound doesn't see any reason to break the mold either. If it ain't broke, why fix it? This is the beloved muted blur of the Detroit / Berlin axis of techno that spurned the whole Basic Channel / Chain Reaction sound and which then slowed itself down into the murky dub of Burial Mix. Hitchell and Modell have both been so captivated by this particular sound, that they've collected many of the modular synths, signal processors, and classic drum machines that Moritz Von Oswald and Juan Atkins used back in the day to perfect the mimesis of that abstracted techno that steadily cruises through the dronefields. The bulk of the album finds a hypnotizing rhythm sublimated behind atmospheric synth chords rippling in sync with the cascading wash of echo and heaping snow drifts of tape hiss; but Hitchell does make a few noteworthy detours. "Intrusion Dub" is a decidedly uptempo digidub number, with Augustus Pablo-esque trills across the melodica and an insistent hi-hat uncannily similar to the metronomic rhythms provided by Public Image Limited on Metal Box, but of course pixel-pointed into a Chain Reactive / Burial Mix cloud of digital hiss. Elsewhere, he recruits the Burial Mix toaster par excellence Paul St. Hillaire to offer his ghostly croon to the mix. Mighty fine, mighty fine.

decidedly

uh ... boomkat?

aq

despite all that, this is a good listen. probably the best thing i've heard so far from this camp

i flipped a coin

i ordered that CD BTW but haven't seen it yet ... best post-BC thing i've heard lately was the new mikkel metal, seemed fresher than normal for some reason. he seemed to pick up on that rolling r&b beat thing that vladislav delay was pushing on his see mi yah remix.

also enjoyed the starlight set, but the original was sooooooooooooo much better than all of the remixes that it was hard to get too excited about it.

ok so I have the Intrusion record, and the Mikkel Metal record, and I haven't heard either. Which first?

Nah fuck it, I'll flip my own coin.

mikkel metal

yeah, that's where I went... tracks w/o paul st hilaire are already better than ones with, tho. I think I'm just tired of the man. Remove the first track from this record, and it sounds great from the start.

no that's not fair... the first track is just dull anyway.

Yeah, lose the first track, track two is a good starter, track three is really good, track four is really REALLY good, track five has Paul St Hilaire again but it's not the same shit and it's a great track, track six... is where I'm at.

Yeah, great record.

wait mikkel metal has paul st. hilaire too?

wow, this intrusion album lives up to the hype

why complaints about "Montego Bay"?!?!?! that's just stupid, that's a badass cut.

you know, i'm all about calling out people who just rip off Basic Channel. just about all the dub techno guys out there have done it at some point or another, but i feel like we're finally starting to see people getting more variety into that template on a regular basis. Rod Modell's "Incense and Black Lights" had a lot of cool sounds and feels going on, and this Intrusion album is really much more "tropical" sounding than BC or any of the usual knockoffs. this one sounds almost like island music or something, in a really good way. i really like it.

after diving back into a bunch of minimal techno following the pfork IDM list, just discovered Deepchord Presents Echospace - Liumin. Great stuff here, dub/ambient techno, but there's a couple of tracks with deeply obscured disco samples that almost come out as vaporwaved house tracks. always finding more...