Techno/house bobbins, 2009

I know it's a bit early for the thread (and admittedly this is mostly about 2008, but) I've noticed something something surprising on Discogs that raises a couple questions. I'm sure it's been like this for a while, but I just noticed that podcasts are a file format on Discogs.

I only noticed this because a release I was checking out, Louis Guilliaume, "Soulpoint II," had a track featured in RA's new podcast by Marcel Dettmann. Which, of course, has [url=http://www.discogs.com/release/1591262]its own Discogs page</url].

So what are the qualifications for being cataloged on Discogs as it stands right now? I see a bunch of really random things when putting "podcast" into the format field, but Resident Advisor is the one I see and recognize the most. Anyone know? What does this mean for mix CDs?

[x-posted, big time]

Also, the new Equalized record is stunning.

And I'm still garbage at ILM html, bleh.

i don't really think it's a good idea to have a "podcast" category there. it sort of confuses the question of what discogs is for.

Also, I feel like "One" and the "BeforeOne" EP could really take Ben Klock to a new level.

i used discogs twice today

1) the first time was to look up the tracklisting for the idjut boys "fistful of ferrets" mix, which i downloaded via ilx. i plan to buy it at some point - if i can actually track down a copy, don't want to break down and buy it from europe just yet - but for right now i just wanted to listen to it and discogs was the first thing that came to mind when i wanted to look at the details.

2) wanted to find out how / where i can get more tracks. i recently bought the "revenge of the iron ferret" comp, and today i was really struck by track 8. so i got on discogs, looked up the comp, and clicked on the artist link for track 8 (the muscleheads), which led me to a page showing that they haven't done anything else on disc except a remix of the oscillation.

i imagine you'd want the balance of use to be tilted to #2, because that path sort of leads toward online commerce.

I've seen that before for online mixes, such as non-podcast (but not live-recorded set either) mixes put out by Hotflush (the label) on their website, and from smaller organizations as well.

Rolling House/Techno Bobbins 2009

Ah jeez. Well um. This thread has more posts? :\

re discogs i'd think that any traffic to the site is a plus for them. plus an artist's podcast can be connected to their commercial output or the tracks contained in the podcast can be linked to sellers. even if you are just going there to look up a podcast tracklist, you are still picking their site first (there is a marketing word for this that escapes me at the moment).

my issue with discogs is that you can tell they are having database organization problems, just like every online music db before them. i also do not like how artists that record under multiple names are represented (or worse still, radio slave vs radioslave).

i initially came over to ilm to share this article (ny times arts article on martinez bros and history/future of nyc house and techno club culture).

this is december 2008 but really, really feeling the ilario alicante 12" on cecille

and speaking of cecille, it's probably old hat to keep going on about this track, but i just learned that the vocal samples on "nesrib" come from "the right stuff" by vanessa williams!

i really like the new kreon record on cecille numbers, nice hypnotic vocal samples

so are the martinez brothers actually any good??

I've heard they are known to play horrendous music...read in a few places they do that bizarro US DJ thing of suddenly playing an hour of pop hits or whatever. I would like to be more specific than that but I can't remember the exact gripe, just that it sounded a pretty bad experience.

That said it does sound like that mightn't be what they do all the time. Interesting they're recording with Argy.

i watched some clips on google video, tbh it sounded like common or garden variety progressive house business with some deep house vocals thrown in for good measure. all ten minute tribal tracks and five minute mixes. i mean maybe they'll take the torch from dennis ferrer but it's not like the rebirth of danny tenaglia or something.

Yeah it sounded really great when I first read about them but then I heard all these awful reports, like utterly scattergun DJ sets and stuff, possibly like the rebirth of 2008 Danny Tenaglia!

Their track was pretty good though.

The DJing kids thing has some novelty to it, Dad has a charming back story to match. They had an OK first single and the new one is a pastiche of 2008 house trends and sounds like a loosely produced version of S.I.S.'s "Nesrib." But the media loves a story, even if it doesn't amount to much.

“We’ve been looking to America for a long time,” Mr. Berkhahn said. “It’s where the house music we love comes from, where it started. And the producers we respect get older and older.” This is true of his DJing sets, at least; Innervisions has only worked with one American artist so far (unless you count massive Derrick Carter samples).

"Both visibly shied away from the idea that they represented the next generation of New York anything. (“We’re representing our personalities,” is how Christian put it, dismissively.)" At least the guys themselves are pretty down to Earth even as everyone else needs reality checks.

Which isn't to say being technically good DJs don't amount to much, but these two are probably not representative of the next generation of house producers from America. The Martinez Brothers' youth to talent ratio is their biggest selling point here, because the writer gets to completely ignore what else is going on in American house music except for a brief primer on the past and a Dennis Ferrer reference.

I wish the Martinez Brothers all the best in their careers and am glad they've garnered press coverage. I'm just not ready to read the NYT handing off the baton to them just yet.

"bizarro US DJ thing of suddenly playing an hour of pop hits or whatever"

sometimes this really works though! i don't enjoy it when it gets too girl talk-y or willfully eclectic, but a bpm/beat-style switch-up always has potential.

i was pretty surprised to read about ferrer and the european dudes in the nyt. i've never heard the martinez bros. guess i should've listened to the tracks posted with the article. i liked that the article at least when into some detail about the history of nyc dance music. sadly it's probably their quota of coverage for the year.

I need to describe it better.

To be fair to the article wasn't it NYC specific, in which case the Martinez Brothers are prob a big deal? Not sure it was supposed to be pan-American.

It seemed pretty NYC-centric if not specific.

"but these two are probably not representative of the next generation of house producers from America"

the one other thing that struck me about the piece was how it almost sounded like the writer wanted to will something like a reality show about kid djs into existence.

"gets to completely ignore what else is going on in American house music except for a brief primer on the past and a Dennis Ferrer reference"

haha and except to say that fans of house music are old. touche nyt reader.

I don't think you could fit Detroit into this piece, or at least don't think it should be mandatory, if that's the issue here. I mean I know plenty of people for whom that NYC tradition is really a huge deal (the only deal), who may not be as interested in other US artists. I can kind of exonerate that because I think it's a genuine flavour for want of a better word, of house/disco which certain people follow very closely.

I mean Dennis Ferrer typifies this. There's still definitely a New York scene in house music and it seems to me that's what the piece was about.

Yes, it would have been strange to try to encompass the rest of American house scenes in this specific piece, but written with a wider angle it could have easily included artists like Seth Troxler. When you're going with "the future of American house music" as your storyline it seems reductive and presumptive to lay the title at the feet of TMB without admitting there are other options, at least. The author Pitor Orlov is an MTV/CMJ guy in NYC, so I guess it's not much of a surprise that it took such a NYC/TMB-centric viewpoint.

not to go on and on but was the piece not calling TMF "the future of NYC deep house music"?

erm TMB rather...

I mean the piece is littered with "New York's" and doesn't claim to be about American house music as a whole.

To me it's only NYC centric because it's specifically about NYC! And it's TMB centric because it's specifically about that Dennis Ferrer post-disco lineage of NYC house of which they are the newest stars. Maybe there are other rivals to TMB within that scene...but Seth Troxler wouldn't really fit as one unless the article was about any and all house music in NYC.

Anyway the biggest debunk of these guys is that it seems Ferrer's been making tracks with them, and now has lined up Argy to do the same. No major personal problem with that but it does make their status as heirs seem a bit dubious.

yeah, don't think the article is really meant to be much more than a profile of the martinez brothers themselves, but whatever their story always tells well.

they're cute kids that'll draw a crowd and their sets are "bad" by any means, they're just doing somewhat typical / predictable stuff... like i recall a friend going to see them at ps1 and being able to predict about when they were going to drop cure and the cause and other usuals.

Ronan, you're right, I was skipping over the NYC mentions a bit too much.

Hopefully they'll learn from Ferrer/Argy and soon be on their own and not figureheads like Loco Dice, M.A.N.D.Y., or DJ T.

and speaking of cecille, it's probably old hat to keep going on about this track, but i just learned that the vocal samples on "nesrib" come from "the right stuff" by vanessa williams!

!!!!!

i did not know that song!

:D

I am finding this Vanessa Williams thing very entertaining.

Keep in mind also, Seth Troxler (who I am to believe lives in Berlin, anyways) isn't playing big room (North American) Clubs, unlike the Martinez Brothers. At least if the distinction of where and how often these respective DJ's have played here is any distinction.

On that subject, what do people think of Love Never Sleeps by him, I feel I'm not 'getting it' from the samples I've heard, although my enthusiasm for Adam Marshall and his remix live on, though.

vahid, the idjut boys' DC mix is an Amoeba exclusive for North America, so don't order from Europe!

i am really enjoying chloe's live at robert johnson mix

I've heard rumors that Kompakt just shut down their mp3 site and shifted everything over the beatport.

There is nothing official on the kompakt site site but their online catalog is now empty.

Does anyone know anything about this?

They're now offering their entire back catalogue to stream on their site, also. What implications this has I'm not entirely sure, seems like something they'd do to boost mp3 sales on their site.

@lex: may you share the link with us, please?

uhm it's a proper cd mix, i'm sure it'll turn up on the internet soon? dunno when it's released

It says on the new Kompakt site that their new online store will be up in March.

chloe mix for robert johnson looks decent, but i'm real excited for the prins thomas and gerd janson volumes (smagghe not so much)

Oh wow, someone booked Sammy Dee and Frivolous here. Hooray!

Without having really payed much attention to the mix, do you think the 2X LP sampler for Matthew Dear's Body Language is worth it. Condenses some stuff I wouldn't mind having into one place, but I dunno, mix samplers have also been kind of, weird to me, for some reason.

i say go for it if you want the trax. invariably a cheaper way of getting stuff.

it's got "ambee", best track on BL7 imo

its

wait no, that needs an apostrophe

i think

you're contracting it and has, so the apostrophe works.

just got the Petar Dundov - Escapements album. only heard it twice so far but it's fantastic. some ambient tracks, some detroit elements, some trancey bits.

I saw Martinez Bros. dj in new york without knowing who they were (I only looked on the internet afterward and saw all the "omg theyr in high school" writeups) and I thought it was great, their enthusiasm was infectious, it was fun to watch em play with huge smiles on their faces and everyone in the booth with em doing a whiplash neckbounce to every track

they did play some pop songs like Crystal Waters but it wasn't the majority

It says on the new Kompakt site that their new online store will be up in March.

That's good. I've always liked the selection on their site, but the interface was truely awful.

their interface was indeed vile

Haven't heard the Martinez Brothers live because I literally never go to the few remaining big rooms left in NYC, but I'm glad there is anything that gets the kids into EDM and if they're playing poppy stuff too then good! I never understood why so many Americans hate electronic music when most music that is popular here is actually made with the same machines and programs as techno. I'm not looking for an answer to this question but TMB can be a positive force if they point out this fact to a younger crowd.

Also, Seth Troxler's best release of last year was done with Pat Russell--"Valt Trax" on Circus Company. Superb and trippy dark stuff.

wait, martinez bros play ebm?

http://www.kompakt.fm/blog/3voL2oiGLiJ4

new online store in March for physical records but all mps through beatport from now on.

a positive force?

After reading the first part of the looking back on 2008 feature on RA, and subsequently downloading the Tolga Fidan remix of Dilo (Somehow I was blown away when I first heard him in 2007, and then just kind of forgot about how good he is) and the Anthony Collins remix of Kreon and Lemos, I must say, these are some pretty masterful tracks.

tail-end 2008 stuff i have been enjoying:

le chien perdu - handsome interruption (i'm really a big sucker for staccato cut-up vocals in techno)
milton channels - black is black (MASSIVE tech house track)

would like to hear a radio slave mix of that "black is black" track

ben klock album is fantastic, maybe not something to be played end to end but full of great tracks and not much of your average techno artists album filler or downtempo bits

New Gui Boratto album is streaming here

i'm REALLY feeling kreon's 'jauce' - it's the track that sebo k's 'diva' promised but didn't deliver. anyone know what the sample's from?

Jauce is great as is the Masomenos collab Eps. The cute graphics are a nice touch too.

anyone here the MXM record on Philpot from last year? really like that, just picked it up.

and moonship, "black is black" as in the one by Belle Epoque? or los bravas? or extravagance.?

i've been loving the productions from Lerosa. I can't get enough of his sound right now.

i mean "black is black" by milton channels. it's a little too hectic for my taste.

desire, the nicolette + john tejada track on where (palette recordings) is absolutely perfect.
need to dig out her solo album from way back, as i think it needs more love.

The new Intrusion album, The Seduction of Silence, is fantastic. Nice and dubby.

desire, the nicolette + john tejada track on where (palette recordings) is absolutely perfect.
need to dig out her solo album from way back, as i think it needs more love.

Produced by Plaid.

IIRC nicolette did a really nice installment of dj kicks back in the day. yeah, this one, also with assistance from plaid

"i've been loving the productions from Lerosa. I can't get enough of his sound right now.

― brotherlovesdub"

little BSP here, but we have a nice interview with him along with a free .wav DL of a track exclusive to us:

http://infinitestatemachine.com/2008/12/08/lerosa-straight-outta-killester/

leo is the man, he keeps getting better and better!

Personally I find Lerosa's sound to be the most bland and boring of the bunch of producers making that style of deep-house. It's like Move D with even fewer interesting melodies or grooves to get excited about.

That said, I'm not incredibly well versed on his stuff, so perhaps I'm just ignorant.

Seconded on the Intrusion album, a great step for Stephen.

i wouldn't even really compare Lerosa to Move D at all. to me, he sounds like someone who should have been releasing records on Track Mode, not any specific producer but certainly in that same vein of feeling. definitely far more US deep house feeling than Move D or most other Euro producers.

too bad "us deep house feeling", as a whole, got ridden into the ground in 2008

I agree, Lerosa and Move D should be filed together in the record shop but their sounds are not the same. Lerosa sounds more like long lost Carl Craig demos than anything else. I'm sure that's me projecting what I want to hear in them but i've been listening to nothing else all weekend. I've just spent 30 bones on Juno downloading 320s of all his EPs and remixes despite having downloaded them from rapidshare already. All of this because for the 2nd time in a month the one track that was spectacular enough to make me ask the DJ what it was turned out to be Lerosa.

That's awesome. Again, I'm more than willing to be wrong if it means good music is to be had.

Anyone care to point out his essential tracks?

I like the Seeker EP best but really they all have good shit on them.

Arctor off the Lovers EP is one of my favs.

What does everyone think of the "new" Beatport?

Circadia on the same EP is also great. I'm a sucker for those round fat synth melodies that remind me of the best acid house classics. Since i made the Carl Craig demo comment above, i'll make another ridiculous connection here and say Circadia sounds like something Mr. Fingers would have done if he was better at programming drum patterns.

What does everyone think of the "new" Beatport?

playlist feature is kind of nice I guess, a 'next' button would be great, site WAY slow now, too much minimal/prog/tech-house promotion still, seems like they put any techno record that is faster than 132 bpm in the 'hardcore/hard techno' ghetto.

too bad "us deep house feeling", as a whole, got ridden into the ground in 2008

yeah I'll bite.
why didn't I buy any of those records in 2008? being a huge us deep house feeling enthusiast I was ready to give in and rep something from that mainly teutonic wave of appropriation. but no, it was a lame attempt at replicating stuff produced 15 years ago, turning it into a kind of fetishized museum piece. with some tedious and vibeless experimentation coaxing the requisite kneejerk responses from confused, nervous crowds.

probably my fault for thinking ilm was all happy cooks instead of one big mouthpiece for the cafeteria menu.

i'll make another ridiculous connection here and say Circadia sounds like something Mr. Fingers would have done if he was better at programming drum patterns.

This statement is ridiculous. You need to go back and listen to Washing Machine and study those drums to see how far out you can push a 707. Even his restrained tasteful 707 stuff like Love Mystery or Mysteries of Love is perfect. I am not trying to trash talk Lerosa but his shit is playschool compared to Larry Heard.

probably my fault for thinking ilm was all happy cooks instead of one big mouthpiece for the cafeteria menu.

That is a nice way to describe the board.

My music money went to used records and recording hardware last year. I mainly bought used NYC and Chicago records with a bit of electro thrown in for good measure. If nu-deep house wasn't the way to go in 2008, what were you buying instead?

the usual deep house from the usual US artists, some used. there was little to go by on in the new dept- and nothing in the 'nu' dept.
I did buy a whole lot of dub CDs including all the Scientist I could find.

also enjoyed Quarion's remix of Andres Garcia "No More Tears" last year- caveat/full disclosure, both are friends. it was a pretty quiet year...

i can hear Washing Machine from start to finish without ever actually playing it again. it's fused into my mind. i don't personally believe putting a simple delay on the drum sounds = interesting drum programming. there's nothing that complex or interesting about the drums on Washing Machine. it's a bit of delay on the secondary rhythms while the kicks stay steady. i'm not saying i'd take Lerosa over Larry Heard or even that he's remotely as classic or talented but this is the 09 bobbins and i am bobbin to Lerosa in 09.

There is a lot more going on in Washing Machine besides delay. What is happening on that track is that every sound on the 707 is being run out to the board on an individual channel. He has an analogue delay set up on one of the aux sends and the send is running back to the board. What he is doing is delaying individual channels on the fly while the 707 plays through the song in track mode, all that shit is being done in real time by hand. It isn't just one delay part, it switches up all the time and he is grabbing a different drum sound every four bars. He is also adjusting the delay itself through out the track so that the delay jumbles and stretches out depending on where he is in the song. He also can mute the delay channel so he can surge the delay and then slam the channel shut and emphasize the start of the next bar.

The drums themselves are really clever. I like the way he uses the the open hat to denote bar lines without resorting to loud claps on two and four. I also like the way he used to claps to add syncopation and played them off the lo tom, the tambourine and closed hat. It is a simple track based on 8 four bar loops and an empty pattern that repeat in a cycle. They way he pulled off that track was about as elegant as you can get on a 707. It is real subtle and he doesn't beat you over the head with his changes. If you are really listening every pattern flows builds into the next one and then the cycle turns around without losing any energy.

While all of this is happening he is working the board, grabbing some drums from patterns, muting others, cutting them in and out on the mixer while also sending different individual drums though the delay. None of this was done on a computer, this is all being done by hand in real time.

If you can hear every bar of that track in your head from start to finish I am impressed.

This was pretty hot for 2008 bobbins: http://www.discogs.com/Larry-Heard-25-Years-From-Alpha/release/1531473

Speaking of 09 bobbins, has anyone heard this yet: http://www.discogs.com/Mr-White-Aeroplane/release/1620206

Just gave that Mr White record a listen on Boomkat, not so much.

larry heard is the eddie van halen of drum machine, haven't you heard

wow so funny and accurate. props vahid the funny accurate man.

I think creative lulls of a few years are usually not a problem within genres and give time to digest gluts of new stuff or other genres, but in deep house things have been lean for a while now (yes I am ignoring the new business environment). I think it works as a nearly extinct special interest niche, confined to ritual extended-family type clubbing, no longer technology-centric or associated with paroxsytic drugginess and a drive to be overwhelmed and absorbed in a large crowd. it has dispensed with a consumerist obsession for the new and cool. maybe that's also how it avoids being lumped in with the mainstream house and corresponding club experience.

thre are people old enough to be your mom and dad, getting in tune with themselves, each other and the world by playing and making dance music which comprises instruments and/or vocals to express and incite feelings. in a freakishly cult-like, endearing or infuriating but always harmless way, most of those feelings are intended as positive reinforcements or illustrations of lovely or constructive ways to work through negative experiences. ideally the music does the talking and people spontaneously fill in the blanks from time to time. sometimes I wish it were different but like sometimes I wish life was different.

the hypnotic nature of certain sounds and the fact that 22%, 97% or another fraction of any given record uses electronic means and devices is both a given and secondary, one of the things that connects it to a larger culture and the times in general but can never be in focus. in this subculture people hardly see any point in dissecting, talking or writing about the music and their experience (but some people could do that well) nor do they feel the need to lionize their DJs except maybe in larger, supposedly cool cities. If they do so it's probably because he or she is one of few.

I'm afraid the whole thing doesn't really lend itself to talking about it. not online, not in magazines and especially not on the floor. Shut up and dance.

^^ neither funny nor accurate

:-(

I did try harder tho!

try not ruining the thread

I have nothing for this thread. you haven't been paying attention

If nu-deep house wasn't the way to go in 2008, what were you buying instead?

UK Funky, the Frivolous back catalog, Matthias Kaden and re-edits/nu disco.

expensive anchovies, shirts/ties, pristine white shoes

Display Name, in the internet fashion of not letting a simple disagreement die, i'm going to continue our discussion.

"None of this was done on a computer, this is all being done by hand in real time."

vs.

"99% of my tracks are live jams recorded on a 2 track editor, so I normally just jam for a while, muting channels, triggering different midi clips, playing with EQ and dials "

http://mnmlssg.blogspot.com/2008/12/mnml-ssgs-mx17-lerosa.html

Lerosa produces the same way Larry Heard did!

You're right about the 25 Years from Alpha single, great stuff on there.

I don't think anyone (including Leo himself) thinks he is a better drum programmer than Larry Heard. Tho I will add that I think the track he gave us has melodies similar to some Mr. Fingers jams. Also, I don't entirely disagree with blunt's perspective on deep house, he is mostly right with some nits I will pick when I'm not internetting from my phone.

http://www.tearfund.org/webdocs/Website/Campaigning/YVAP%20front%20page%20flyer.jpg

work through negative experiences
work through negative experiences
work through negative experiences
work through negative experiences
work through negative experiences
work through negative experiences
work through negative experiences

"I think creative lulls of a few years are usually not a problem within genres and give time to digest gluts of new stuff or other genres, but in deep house things have been lean for a while now (yes I am ignoring the new business environment)."

i just don't see how this is the case. things have been quite good recently in terms of recorded material from all the usual spots (detroit, chicago, new york) as well as other spots (some good stuff from the UK, pepe braddock, kai alce down in atlanta, karizma in DC, etc). i don't think there's been so many ubiquitous anthems, but is that really a problem? right now most deejays in this department are playing a really good variety of music, stretching into some dubby techno, broken beats, and other various forms.

"I think it works as a nearly extinct special interest niche, confined to ritual extended-family type clubbing, no longer technology-centric or associated with paroxsytic drugginess and a drive to be overwhelmed and absorbed in a large crowd. it has dispensed with a consumerist obsession for the new and cool. maybe that's also how it avoids being lumped in with the mainstream house and corresponding club experience."

aside from the "nearly extinct" part, i think this is spot on.

"thre are people old enough to be your mom and dad, getting in tune with themselves, each other and the world by playing and making dance music which comprises instruments and/or vocals to express and incite feelings. in a freakishly cult-like, endearing or infuriating but always harmless way, most of those feelings are intended as positive reinforcements or illustrations of lovely or constructive ways to work through negative experiences. ideally the music does the talking and people spontaneously fill in the blanks from time to time. sometimes I wish it were different but like sometimes I wish life was different."

i don't understand the meaning of "harmless". what kind of music is "harmful"? aside from terrible nonsense?

"the hypnotic nature of certain sounds and the fact that 22%, 97% or another fraction of any given record uses electronic means and devices is both a given and secondary, one of the things that connects it to a larger culture and the times in general but can never be in focus. in this subculture people hardly see any point in dissecting, talking or writing about the music and their experience (but some people could do that well) nor do they feel the need to lionize their DJs except maybe in larger, supposedly cool cities. If they do so it's probably because he or she is one of few."

agree here, but i'm not sure about people not "lionizing" their deejays. i think in every city, the real deep house deejays are known and respected as such, and well loved because of it. doing it like that is not something that you can just jump into, it requires years of record collecting because of the lack of focus on "the new" as well as an understanding of a larger culture that extends beyond deep house into soul, jazz, afrobeat, funk, etc. aside from the retarded hype surrounding the Martinez Brothers (are they really even deep house?), even the "new" guys on this scene tend to be older.

"I'm afraid the whole thing doesn't really lend itself to talking about it. not online, not in magazines and especially not on the floor. Shut up and dance.

― blunt"

and this i tend to agree with. rock on.

banning me from posting in threads is a bitch move BTW.

you're a bitch move

see what i did there

your mom moves like a bitch

lol, mine was intentionally bad, i hope that was too.

intentionally bad like your mom's rimjobs?

same question applies.

all of my name calling is intentionally bad, that's what makes it entertaining for me.

oh my god, all this time you've been psyching us out

you're actually a critical-slash-comedic performance-slash-genius

and i have a big cock. don't forget that.

http://musicmiami.net/images/hughjhitchcock_com/normajeanbell.jpg

she's the baddest bitch in the room.

so just shut the fuck up. seriously. buncha fuckin babies.

I listen to all kinds of music but when it comes to deep house, I find that when contemporary tracks focus on or limit themselves to dubby and hypnotic elements, they enhance a sort of tunnel hearing effect (after 'tunnel vision', why not) detracting from the purpose/feeling/narrative of good deep house and disco. it's something for your mind, for your body but not your soul.

it's kind of like in hip hop where you can make choices with every record on the lyrical content of what you're playing. you can cultivate an aggro/edgy vibe, you can choose to play particular artists or recent releases, or you could look at it differently and try to come up with things that play off something else than ego, machismo, money etc. if you're doing a good job at that, tracks that use those references will noticeably cause confusion, diminish the energy level, turn it into a negative buzz. in that sense they are not harmless.

http://bp0.blogger.com/_M0cuxJsSjdU/Rwvbn7UorfI/AAAAAAAABQM/zRp7JUAnnQU/s400/polar-bear-face-palm_thumbnail.jpg

buncha fuckin babies.

bunch??

is the bobbins thread going to be like this all year again

i'm belatedly getting into that ilario alicante 'in africa' ep, anyway.

like the remix on that ep best...

there are lots of good releases so far this year.

was gonna say, doubt i'll be reading or posting on this thread much this year.

did anyone go to sascha dive at visions bar a couple of weekends ago? and did anyone else notice how until like the last two hours, sound was only coming out from one channel of the funktion 1 soundsystem? made an already mediocre night worse for me, another reason why clubbing in london is bullshit and a waste of money right now

as predicted at the end of last years thread, the new boola record on lomidhigh is brilliant

ive had more fun in visions and various dalston dives in the last year than any clubs in london. you can hardly blame a dodgy PA for the state of london clubbing

only one channel working on the pa for practically the whole night (and throughtout the headline acts set) is a bit more than a "dodgy pa". the promoters seemed reluctant to offer any explanation. like it would've been nice to know there was some technical difficulties before paying the entrance fee. saying this, it seemed like no one else in the crowd was to bothered by the lack of stereo so maybe i was just being uptight.

my beef isn't with visions, it's a really cool venue.

90% of systems in clubs are mono anyway so most folks wont notice. i do a fair bit of whinging about audio fidelity myself. Other than tha PA what was the craic there?

hmm I was at Sascha Dive (with at least one ILXor) but I thought the PA only really fucked up about 2 hours into his set...or so I recall. I thought the music he played was v good, v intense compared to what you'd expect....wasn't feeling James Priestley though...apart from some white label he played which I can't remember the name of.

I found it took about an hour to relax in there cos there were so so many people...dancefloor was pretty manic, but after a few drinks really enjoyed it. Dive deteriorated for me after 2 hours or so, lost his way a bit...

it was definitely noticeable tho, I mean the speaker on one side of the dancefloor just went and suddenly you could hear people chatting etc beside you. I moved up the to the step where I guess the monitors were making it a bit closer to stereo sound.

(oh yeah and this thread indeed a waste of time, secret techno board anyone?)

i don't think it's a regular thing in visions, i've been there many a time and there haven't been any issues...

god just don't reply to pipecock, people, it's easy.

obv not that easy

i find it easy!

I said OBV NOT THAT EASY

I find it easy to not really agree with anyone. My newest run-down:

- Nima Gorji's "The Gypsy Way" on murmur
- Vibe Corner's "Long Time Gone" on Architech
- Sety rmx of Butane's "Mutation" on crosstown rebels

haha, ysee? EUROPEAN STUFF.

and Pierre LX, too, esp. the Jus-Ed rmx on his newest.

pierre lx does a really good free night at bar music hall on curtain rd, at least it was free last time i went.

is that the one that was meant to have Kassem Mosse recently, until he got sick or something? I never go in there cos it seems busy shoreditch bar but I wanted to go that night.

yeah, millenium disco it's called. it is a busy shoreditch bar, lots of er, non-"heads" i suppose. pretty sure only a small fraction of the patrons are there specifically for the club night itself. pierre lx plays good low key house stuff though, its not really a full on rinse up but nice to have a few drinks and a moderate dance to. and he gets good guests. carsten klemann is at the next one

Tiga and Joakim are coming to my country. Should I stay or should I go? What do they play nowadays?

that sounds cool...is it monthly on fridays or every week?

This thread would also be more fun if there were any tracks discussed which you could imagine (even momentarily) becoming chart hits.

durrrrr you should absolutely see joakim, he will play disco and techno and his own remixes.

the house of house record should get a mention on this thread as well as the beardo one, because it's amaaaaazing - carl craig-ish keys over ame-style building groove with male diva vox (in robert owens style) during the second half. it's on whatever we want so it's never going to be a hit, tho!

House of House record is hot and selling like hotcakes -- before it's even released!

has anyone heard the music institute 20th anniversary record? it's the first of three records of unreleased songs by derrick may and other music institute producers!

http://clone.nl/item14186.html

what is this House of House record people are talking about?

are louie vega sets good? he's gonna come to my country.

maybe not in more upscale clubs

too 'mainstream' huh?

no reason to alienate people who paid lots of money expecting that. before digital music there was the excuse that people going around the world like him could only carry so much vinyl, but it's no longer a valid explanation.

Who's House of House by?

House of House is the artist. The track is Rushing To Paradise (Walkin' These Streets) on the elusive Whatever We Want label.

You can hear it in the 2008 roundup from Jan 13th on Beats in Space http://www.beatsinspace.net/playlists.html

It's great.

http://www.phonicarecords.co.uk/detail.aspx?ID=34067

just got this now...v good...gonna be ubiquitous

yeah wow...really good. can these all these dudes stop making disco now in favour of this stuff?

gonna be ubiquitous

not with 600 copies it aint.

well I have an mp3 version...not leaking but someone will

ah ha. i forget about things like that in this new digital era.
actually, there is a piano/gospel track, (Celestial Choir - Stand On The Word (Lerry Levan Mix)) that opens the new benji b mix,
it's absolutely brilliant.
rest of the mix falls off after such a gorgeous start though.

that is a real classic

I think the House of House nicks the chord progression off Stand On The Word, actually.

can all these dudes stop making disco now in favour of this stuff

To be fair, none of the WEWW releases are really disco. Map of Africa are a rock band. Otterman Empire are, er, edits of rock. Quiet Village are just weird and Bobby Marie is kind of punk-funk. The Laughing Light of Plenty sound like something off the second Stone Roses album (I think this is actually a good thing). I've never heard the Godsy stuff, but it's not disco, apparently.

But I take your point that they've not released anything like this before.

I think the House of House nicks the chord progression off Stand On The Word, actually.

it is actually sort of disco I guess, it starts off like house, that was when I made my comment. I am pretty ignorant on all of the other stuff you mentioned btw...

sorry, but really not keen on this track at all, nor this kind of period piece house track in general (didn't really dig "still going theme" or "blind" either)

the chord sequence (which seems to be stolen from "these are my people" by members of the house) and especially the vocal seem like the most insipid attempt at creating that 'timeless warehouse feeling'. at least "blind" has an interesting lyric

this is basically the white stripes of house

(i may take this back once heard out though, not that anyone cares)

celestial choir is my girlfriends favourite song, reminds me of wonderful nights with danny krivit at electric chair

I haven't heard this track but hating on "still going theme" is like hating on guide dog puppies.

I'm not keen to stray from eternally agreeing with Rio...I have to say. I enjoy this track but White Stripes of house is an eviscerating indictment and not just in some clever critical way.

fucking guide dog puppies

the new audio werner on hartchef discos, fuck. welcome back. (samples on his myspace).

ben klock album is fantastic, maybe not something to be played end to end but full of great tracks and not much of your average techno artists album filler or downtempo bits

OTM. The pseudo-dubstep stuff on there is kinda blowing my mind right now (i.e. "OK")

yo plsying at http://www.powerfm.org for next hour and a half, interchanging with a friend. me for next half hour then back to back

and thanks for that Drive D and Gosvha and Westboy - “Sacrament of Shamans” tip via What People Play, a doozy, even in spite of further pushing the overuse of self consciously featuring chants, mmmnhhmmn.

No House of House leak yet? Come on!

does it really sound that good?

you can get house of house from a blog.

Google nor Hype Machine have shit on House of House.

also, Omar-S interview with pipecock, hilarity ensues.

HOLY FUCK I AM IN CHICAGO FOR MOODYMAN'S VALENTINE'S DAY PARTY.

YESSSSS!!!!

sorry, just got really excited.

hypemachine doesn't come up with anything but try googling a lil' bit more ;)

yeah will do when i am not behind in my reading for friday.

jesus i am hyperventilating here. i have been waiting to see moodymann for the past two years. and now, just because i happen to be going to a conference in chicago, i get to see him. got my tickets already!!

Found it! Thanks.

I don’t think its particular outstanding, but it has nostalgic moments. The last three or four minutes reminds me of hearing Terrance Parker when I was a teenager.

Bobbins meet up at Moodymann!??!?! I'm in!

i'm down, too!! let's coordinate next week so we can find each other in the throng.

listened to 'House of House,' and my first impressions:

1) there is some definite riffage on 'Stand on the Word.' others who've mentioned this are totally right.

2) this is what i would describe as filter-deep-house. this isn't necessarily a bad thing, but i think that the Motor City Drum Ensemble releases do a better job of it.

now on to comparing nietzche to wojnarowicz. good day.

the house of house track is great but the best thing about it is the 'stand on the word' rip

and yeah it's pretty "period piece" - helps that i'm still finding this particular period fairly new, but even so there's this air that hangs over it - "white stripes of house" is too harsh a burn but it's the same feeling as i got from the H&LA record

what in heaven has that house of house track to do with deep house? i also think id like all these european house producers a bit more if they stopped putting bloody 'deep' or 'motor city'. The musics great, why do you have to then go and call it something so cringey that it ends up feeling as authentic as supermarket own brand deoderant

to be fair lynx isn't that much more authentic...

i mean you need to go to duty free to get really authentic deodorant

deep-oderant

Matt John's Radio Self sounds pretty cool from the samples, hopefully Perlon will have a good year in 2009.

i wonder if perlon will last through the rest of the year.

Yeah, how are the now former neutonians dealing with the fallout?

Older matter, but on the subject of Matt John, how 'essenital purchase' is Joker Family Pack II, outside of Hawaii You?

i'm not even just thinking about neuton. how many records are they actually selling? maybe it's just me and all of my friends, but we're not buying vinyl like we used to. coupled with perlon's refusal to sell digital, i wonder if they can keep operating for long. unless, of course, they keep focussing on established artists like villalobos and a guy called gerald.

Who's distributing Perlon these days?

i would be quite suprised if Perlon were selling a substantially lesser amount of records at the moment than they have been the last few years.

Indeed. Villalobos, Melchior and Luciano aren't going anywhere. And people like STL are getting more hype.

On a separate note, I'd be surprised if Take My Breath Away isn't at least as popular as Chromophobia was. The core of No Turning Back (Beautiful Life minus the cringe) and Azzurra is really quite good.

If anyone is going to the Moodymann Smart Bar show and sees a guy with glow in the dark fruit on his shirt (hey, I'm trying to stand out), come say hello.

Can I just stop in here for a sec to big up "Rushing to Paradise"?

i dont think theres been any shortage of bigging up for that track, been all over the beardo thread the last while

Here's hoping they release an instrumental for it (not big on those vocals at all)

Naw, I love the growling-baritone male diva vocals. As long as it takes them to appear, they are completely unexpected, too and kinda drive the Paradise Garage tribute aspect home.

Take My Breathe Away is a great album. Colors reminds me of New Order. Lots of great mid-tempo / non dancefloor cuts.

(aka take the Rushin' talk back to Beardo!)

I really have no idea even what Beardo is. I've never clicked on that thread.

wouldn't have thought there was a need to make this thread any more of a ghetto than it already is.

i'm gonna have to give the full ben klock record a try because the sampler is pretty great.

actually i was wrong, it was this thread a few weeks ago. i cant actually think of a duff track on that ben klock album, in f much more varied than his usual stuff solo and with dettman

yeah i was surprised at how much i enjoyed that ben klock album.

gui boratto album: two effective if unsurprising bangers ('colors', 'ballroom'), a couple of vaguely pretty third-tier rehashes of 'beautiful life', a whole load of in-one-ear-out-the-other. bleh.

Martyn and Surgeon remixes of Shed are absolutely ace. Experienced 2562 drop Martyn's remix of "Another Wedged Chicken" to a packed club and watched faces light up. Good stuff and awesome to see Martyn entering the Ostgut sphere of influence.

Whoops, sorry, not techno/house enough. But when Sherburne has gone all wonky on us, can we really be expected to stick to the script?

hey lwe, sorry i didn't say hi. i went straight from the AWP conference at the Hilton to Boystown to Smart Bar= no internet time.

anyway, that set pretty much convinced me of what i already suspected: that 95% of DJing nowadays is garbage. KDJ gets big ups-- Riders on the Storm and scratchy gospel and funky deep shit out the waz.

i mean, in the past year, the only sets i've really dug have been his and morgan geist's.

playing "riders on the storm" has become a bit of a dj cliche recently. i saw ame, villalobos, and theo parrish all drop it at some point last year

the one time i saw kdjizzle play he was terrible and self-indulgent although the crowd (30 somethings in "love saves the day" t-shirts) seemed to lap it up. he played "freaky mf" like 4 times which was cool though.

jesus that sounds awful. KDJs on at cargo in a few weeks which is such a shit venue id sack it off on that principal. Anyone heard the new thing hes put out? ive heard its pretty similar to det.riot in that theres 2 good tracks then a load of farting about

is this a thread where i can say i wish motiivi tuntematon would do some more stuff?

love that making failed tune, the end reminds me of sunn0))

where'd motiivi go anyway? it feels like forever since their last single.

KDJ was not particularly self-indulgent. that and from past live sets i've heard from him, he's been doing Riders on the Storm for a while. just a note.

also, how are Villalobos and Ame's sets NOT self-indulgent? an honest question-- to me, Villalobos is going nowhere doing the same fucking thing he's been doing, and Ame rock their own shit CONSTANTLY in their sets.

this is actually a december 2008 bobbin but i just got a vinyl copy of liebe detail 25 - juno 6 "molto in basso" is easily one of the best techno tracks of recent times. one of those perfect replenishing after-hours beats. incredible.

Workshop 07 sounding niiiiice.

I thought KDJ's set was enjoyable but not at all what I expected. His set was more what I would expect from a random house party DJ, both in style and substance. That said the choices were pretty dead on and people were having a great time. I also didn't hear him drop a single house track, but I only stayed for a while because my boyfriend was exhausted (also we showed up at 10:45 to get in free, ended up meeting Kenny himself which was awesome; what a sweet guy). Did it ever get housier?

Am I the only one who's disappointed with Det.riot EP?

Workshop 07 sounding niiiiice.

been trying to find this on slsk. i may actually break down and PAY FOR MP3S though.

det.riots a mixed bag, couple of great tracks but a lot of silly blaxploitation filler. Could really have just been half the length. But, par for the course really.

also, how are Villalobos and Ame's sets NOT self-indulgent? an honest question-- to me, Villalobos is going nowhere doing the same fucking thing he's been doing, and Ame rock their own shit CONSTANTLY in their sets.

I thought Villalobos was the one who hopped on NONSENSE TRENDS AND BULLSHIT rather than doing the same thing over and over? I mean isn't doing the same fucking thing he's been doing what everyone praises KDJ etc for?

I mean you knew someone would bite on this table...

you know...not that comparing these acts at all is anything other than pulping the dead horse's liquified body further but couldn't resist

it's hard to see det.riot as an outright disappointment in the context of moodymann's recent output, definitely stronger than the preceding few 12"s. still not one of his stronger releases but at least has a couple of strong tracks and an amusing concept/presentation.

and KDJ as "random house party DJ" -- i thought it was well-known this was his style. he's not much of a DJ, freely admits it himself. i doubt it got much housier.

wow, i said strong a lot there... brain rot.

i put the det.riot poster on my kitchen cupboard!

This Tokyo Black Star album is great so far.

LWE-- it got much housier. i was there until about an hour before the end. my flight back to the west coast was HELL on sunday, but worth it.

ron4n-- whatever, i think it comes down to the fact that KDJ may be doing the same thing, but i like what he's doing. villalobos hasn't really excited me since....uh.....maybe Africolaps or Dummolator. tho admittedly, vasco has its moments-- just not my bag.

Workshop 07 sounding niiiiice.

been trying to find this on slsk. i may actually break down and PAY FOR MP3S though.

I guess I should say that really it's the B-side that does it for me. The production on the A-side is nice, but it uses that most tired of tricks and has a voice repeating (yes that's right) "Detroit" for the length of the track. Although honestly I'm not sure what is more tired now, actually doing that or pointing out the tiredness of doing that. Anyway, the track itself is nice enough.

The B-side contains two bombs, though. Actually, getting rid of the A and giving each of the B tracks a side a piece would've made an exceptional record. I'm not complaining, though. Hear for yourself here: http://extramusicnew.blogspot.com/2009/02/even-tuell-workshop-07-workshop007.html

Overall I haven't been as crazy over the Workshop releases as many have, but 06 and 07 have been great.

i actually found that sucker in the blogosphere, it is indeed pretty good. despite "detroit." i need to check out 06, i think the only other ones i've heard are the first one and kassem mosse (which i really dig).

I really wish that "Detrot" sample weren't in there. I actually like the *sound* of it and can understand why it was left in; there's a weird apple-bite to the way its spoken, a strange cadence when it's repeated over and over. actually in a sense i guess you could say that's what's interesting about the use of the word "Detroit," it just sucks the meaning out of it and renders it a nonsense mantra, which could actually be a rather clever critique of the persistent Detroit/Chicago hagiography of German house/techno. But I doubt that was necessarily the intention. Or who knows?

Yes, I like the articulation of the D word too - sounds like a British accent. But really, what's the point. The producer is trying to promote his Detroit credentials?

Put your hands up for the D word.

6 hour set from the Jerome Derradji and Moodymann Valentine's Day thing at Smartbar here: http://www.fullbozman.com/moodymann-and-jerome-derradji-live-at-smartbar-chicago-2009-02-14

Damn, the mix was taken down at the behest of... Smart Bar? Does the club have any ownership of the sets performed there? I would think that would be up to the artists.

Does anyone know if Function's "Ghost Echoes" has been released? I can't find it on Discogs or even Google.

the black dog do it again for me in '09.
new track, 0093 [Berlin Mix], is just brilliant.
the thump and the bleep.

wasn't sure as to the calling of the mix the berlin mix, as i was concerned that the band were surfing on the berlin zeitgeist and being a little corney (that or it was some group injoke), but apparently, it's been called that because the band mixed it in Schönefeld airport on their laptops across a wireless connection.

Is it on Soma?

Is it on Soma?

yes it is : soma 263.

i would like to hear the new ra.h 12"

how's the new josh wink?

im thinking 'zeitgeisty'

not really the sense i'm getting ... i mean, it's slow like some recent radioslave stuff, and tribal like some current european "deep" stuff, but it doesn't sound trendy

it sounds different from most stuff i've heard lately, though not terribly distinctive.

isnt slow and seep as zeitgeisty as it gets? my housemate picked it up, i intend to not go to bed all weekend so a lot of techno catch ups are on the cards

i just seem to have some kind of inexplicable vendetta against josh wink, i enjoy his music and hes a good dj. I think its his hair in the 90s

http://electronic-sets.com/imagenes/josh-wink.jpg

i have exactly the same vendetta!

sounds like what loco dice might put out if he were on rekids, or something like that

I don't mind Wink so much anymore but I can remember having a similar vendetta, just because he just seemed so terminally popular in Ireland. Also he has that everlasting career thing without really being mad interesting or iconic or anything else really.

I heard the RA podcast is great tho.

the Josh Wink podcast isn't particulary good imo, however this week's Thomas Brinkmann one is great.

i was really surprised when i saw him in belfast in about 2001, i was dragged there and then he was dropping tunes like 4heros mix of URs amazon, and kept it deep and quite synopated at times, unbelievable. thinking about that has just made me realise the similarity of that tune and EQD002, trippy arpeggios and chuggy beats.

should really post in bobbins of the past but check the similarity. goosebumps listening to it again.

uh, are you talking about wink or brinkmann??

wink of course! i doubt brinkmann would be playing in belfast in 01! See my upthread hair-cuss

"i just seem to have some kind of inexplicable vendetta against josh wink, i enjoy his music and hes a good dj. I think its his hair in the 90s

― straightola"

my vendetta against josh wink is quite explicable, it's because he sucks. playing good records every now and then does not a good deejay make. all his production is trash.

http://www.pitchforkmedia.com/article/record_review/148993-me-fabric-42 >>> Tim F gave Fabric 42 6.9!!

not sure what that means but IMO tim f is fucking king of the game and you can't fuck with his reviews

btw i listened to that disc approx 6.9 times before it got boring.

i only ever drag it out to listen to the marcel dettman remix

the vibe starts off anxious, ends up muscular, and on the way somehow bypasses "sexy" and "soulful" altogether.

true, though perhaps not a negative for the "new techno" LWE / RA crowd

Fabric 42 is just hard-edged enough to seem slightly ill-suited to any context other than the dancefloor itself

actually it's not bad for cleaning the house or a long drive on the freeway (does tim F have a car?)

but the far superior "Raw Structure" by Edward (seething old school house propping up an excoriating slam poetry vocal) shares the explosive furrow-browed intensity of its blueprint, Green Velvet's "Preacher Man".

ha ha i would NOT compare this favorably to "preacher man" (nor would i compare %99.99.99.99 percent of anything favorably to that track) (can you catch the techno reference there)

that the eventual emergence of the dominant organ riff on STL's track seems vaguely disappointing.

okay, one bum sentence in a great review: WHY?

The duo spend much of the second half of the mix alluding to their taste for all things "Wild Pitch"-- a weakness they share with Tiefscwharz, who have plotted a similar stylistic trajectory from lush prettiness to riotous intensity.

ok and that's the basic point of tim's mini-essay. why the greyscale intro and insistence on vaguely jan jelinek-ish dub tools when they could just wild pitch it up all the way through. here's where i basically agree with tim on his review: we want a little art and a little freedom, ame's fabric 42 is too much art and not enough freedom.

i say, fair review and well called. (though i bet if it were a 7.2 instead of a 6.9 they'd push a lot more units w/ the indie fencepost crowd!)

srsly though fuck a 10 point scale

not sure what that means but IMO tim f is fucking king of the game and you can't fuck with his reviews

― moonship journey to baja, Saturday, February 28, 2009 6:42 PM (Yesterday) Bookmark

I mean it's disappointing to me that he gave it that score because the album is good and more importantly it'd make the indie kids hesitate to listen to it.

the last thing we need is more indie kids getting into dance music imo.

well i was an indie kid.

I'm trying to lower my pitchfork scores if I can - I'm guessing I have one of the worst (as in highest) averages. The Ame disc feels 7-ish to me so I cheated and gave it 6.9.

Vahid a sentence that got taken out of my review was a claim that in fact the album is perfect for housecleaning! It's only been when I listened while cleaning my bathroom that it's really blown me away (I don't drive... Also i tried this at the gym but it was only okay there, but then I think I like rhythmically perkier stuff at the gym like UK funky / MFF or Classic / the more uptempo end of minimal). The edit made my "scrubbing through" reference in the final sentence seem a bit mysterious.

"the vibe starts off anxious, ends up muscular, and on the way somehow bypasses "sexy" and "soulful" altogether."

I sort of think of this as neither a good nor bad thing, just a thing.

"okay, one bum sentence in a great review: WHY?"

Just that I much prefer the transition between the two tracks to the actual track - the way the beats of the STL track rub up against the acid bleeps of the Armando track seem more interesting and erm "funky" than in the context of the STL track itself.

The A side on the new Agnes on Stlhmaudio is good.

Huge, huge disappointment: the Matias Aguayo mix of "Township Funk". Such a perfect match, but all he does is fiddle listlessly with the drums, leaving everything else more or less untouched. I was hoping for some of the sleazy crooning that was all over his mix for allez-allez.

I must say, I am quite enjoying Kreon and Lemos these days. I like the way these Greek house dudes think.

Admittedly this is just as much remixes of them as original stuff. Like the quite ace Lookosphere remixed EP of last year.

Anyone know what’s happened to the Month In columns at Pitchfork? Philip? Martin? Perhaps, Tim?

m.clark said on his blog all the specialist writers were told not to write columns for jan/feb, i guess cos of the redesign

january's a bit of a dead spot for new stuff too, let's be honest.

Carl Craig knows just tracks to remix. Glimpse on Planet E, two fantastic C2 remixes with a fantastic metallic BANG to them.

OH MY GOODNESS. . . What a way to celebrate my end of classes:

Quick Fix // MUTEK_10 featuring
Guillaume & The Coutu Dumonts (Oslo, Musique Risquée, Circus Company, Mutek) - Live
The Mole (Wagon Repair, Musique Risquée) – Live
Pier Bucci (Crosstown Rebels, Cadenza) - Live

And for $5!

Also, to those who care, the first names for the 10th edition of Mutek are coming in 5 days. Ooooh, exciting.

that recent-ish 12" from the mole on prins thomas' label is fantastic. i think there's a new one coming out fairly soon too.

really loving Hell's The Angst, Henrik Schwarz remix is stellar..

<p><a href="http://www.factmagazine.co.uk/index.php?option=com_content&task=view&id=2149&Itemid=101";>New Matias Aguayo joint w/ Mexico's Rebolledo</a></p>

New Matias Aguayo joint w/ Mexico's Rebolledo

that is amazing.

really? can you say why you like it?

having a rapidly played synth note stand in for a bassline always gets me, i dont know if anyones done that since sweatbox.

also its just nice to hear a dance track with no deepsauce or bitcrusher for a change.

i could do without the video though.

i love it too, like the presety sounds. Plus like just about everything Aguayo is anywhere near.

actually talking Aguayo the recent 12" on Soul Jazz is a bit of a misstep after a few great records. A-side is a bit of a snooze. B-sides are aight tho.

especially Rita.

http://rapidshare.com/users/3S2TKY

new raudive on macro is fantastic, bleepy dancefloor sahko style tracks.

I think the Arto Mwambe remix of Osborne's "Wait A Minute Now" is going to steal a few hearts. Ethereal deep house! Think Agnes's dreamiest recent remixes with Phil Lauer & CB's sense of humor.

The whole EP's pretty great, actually.

the Osbourne album is fantastic. i'm excited to hear that remix.

Okay:
Jamie Jones- Summertime

loving the Tony Lionni/Radio Slave split 12" on Ostgut Ton

spektre @ glade 2008 on veryverywrongindeed is darkly addictive.
the production is wonderful, though it does feel that the 70 minutes on the set cuts off at the moment that they ramped up the fun factor.

a2 on the new ra.h 12" sounds like some deutsche neue welle shit.

Really, really enjoying this Stimming album so far.

i wanna hear this, though i am disappointed it doesn't have "saibot" (unless it has a new name now)

yeah the stimming album is tops. parts of it sound like what people were expecting from cc and mvo's recomposed, but there are a lot of surprises. the production is really really clean, but it's balanced with a lot of non-digital sounds (like, sounds people w/ instruments actually make (instruments incl tape recorders)).

the other techno album i have been playing a lot of is kenny larkin's keys, strings, and tambourines

one of the best things about both of these is that they have a sense of humor in addition to the serious musicality. it's refreshing.

What is this about Cadenza releasing an EP every three weeks? (so says Resident Advisor) Either wasy I'm interested in this Ernesto Ferreyra release (since I saw him live I've been waiting for him to release this one pad heavy track with vocals going "in the air" that is just heavenly, so I get excited every time I see something new with his name on it. He's a good producer anyways)

I can't believe no one has mentioned that Hard Wax's website has been down for over a month, at least. Any insights?

i'm really enjoying the "josh wink" album, though i must admit it bothers me to no end that pipecock doesn't like it.

I am surprised that no one has mentioned this:
http://www.discogs.com/Basic-Soul-Unit-Dank/release/1685257

hard wax is up for me! top pick this week: mirage ft. chip e, 'jack trax' repress. "a must."

yeah no problems with hard wax from over here either.

my favorite pick from hardwax is that zomby double 12

the b-side of that basic soul unit single sounds great! (the flip is good too, just not my thing)

littlewhitearbuds, i can't believe it's taken you a month to figure out you're the only person it's down for!

be nice, maybe he's been blacklisted.

"basic soul unit"

germans are such herbs

mmmm deep. has it a nice big pitched down minstrelly vocal on top as well?

hardwax is down for me too

I don't think Basic Soul Unit is german. His first track released 6 years ago on the first Iwanai Music 12" is by far his best shit.

the germans should stop being such ny/chi/det stans. they're much better when they're being, um, german.

Hardwax hasn't been down for me, either. I can go back at least the last month of their RSS feed, too...

JOSH WINK album is REALLY good

Basic Soul Unit are from Toronto (and yeah, I don't think they came up with the name a year and a half ago either). It's good to see some local characters doing well, I should probably listen to that.

whoops, it's a he, not a they.

fair enough, i thought i saw on the discogs release page that they were german. motorcitysoul is unforgivable though

and not because of a backlash against "nu-deep" or whatever, it's just an awful name

Can't argue with that! (funnily enough I didn't read your first post and thought "almost as bad as motorcity soul")

yeah never liked the name motorcitysoul.

Weird, I can access Hard Wax from IE but not Firefox. What kind of messed up shit is that?

The latest from Contentismissing is pretty great. The St. Plomb track is my favorite by far.

... i thought 'almost as bad as motor city drum ensemble'.

motorcitysoul's name makes me clam up inside and forget how good they are

-Anton Zap on Uzuri

- Monika (effing) Kruse remixes

- Paul Randolph.

JOSH WINK

speaking of Uzuri, my man Jitterbug just dropped a 12" for those guys and it has my favorite of his tracks on it, "Speaker's Corner".

guys, my country indonesia is having an annual dance music festival and the lineup is:

- Joakim (Live Band)
- The Glimmers (Dj Set)
- Alter Ego (Live Set)
- Roman Fluegel (Dj Set)
- VJ Andy Mutton

should i stay or should i go? i've never heard any of their live sets before. thanks.

unless you're broke, go. how many DJs of that caliber come to Indonesia? that said, i've only seen Joakim live (awesome) and heard a couple Roman Fleugel sets (awesome). but i think yes, goo!!!

actually i'm mighty interested in seeing roman fluegel, but it's alter ego and the glimmers that i'm afraid of. i'm afraid i won't be able to stand their ELECTRO-ness :(

dude, just go

what do the glimmers play in their sets?

Someone give me some Pier Bucci S/D info, have had poor luck with him in the past and want to get it right this time as I saw him live last night, preceding Guillaume & tCD's and the Mole, also live, and during The Mole's set Guillaume played along with this amazing drum pad that looks like a hot plate and etc. and I became aware that I never realized how Urgent and Key a Mole/Guillaume collaboration or at least them remixing each other would be (which would make sense since I imagine they know each other/are probably friends).

can't stop listening to the album of the year : JOSH WINK

stfu about josh wink already. its 2009.

2009 THE YEAR OF WINK

JOSH WINK

http://w-ki.com/wp-content/images/2009/02/00-josh_wink-when_a_banana_was_just_a_banana-ovm90072-web-2009.jpg

irresistible

Josh Wink is such a tool.

could be worse, he could still have his old hair.

no, thomas cox, the HATERS are the TOOLS

Downloaded "Minimum 23" after listening to samples, will listen because it sounds interesting.

would recommend listening to the whole album all the way through for the full WINKSPERIENCE

wink's ra podcast is the most fun podcast i've heard this year.

pipecock, you could do better than calling names! it's a shame for such a *cough*talented writer like you.

haha, please point out where i ever claim to be a writer. i may write, but it's because no one else does it, not because i think my writing is any good. funny though, people still read it even though it sucks.

euhm, i meant columnist.

Wink is a perfectly nice guy and back on form going by that newest release. in the rave days he was always friendly, approachable and actually fun to talk to.

i wish i could work myself up to a longform post on how good the new release is but 10 paragraphs is way beyond me these days

when exactly was he "on form" before? maybe i just don't get it because i missed the rave thing, but even when i was just getting into electronic music i realised that he was trash. he may very well be a nice guy, but a lot of people are nice. that means nothing when it comes down to their music. his music is not just bad, it is awful.

his music is great! i can prove it ...

"hearhear" is not so good but "20 to 20" and the new one are great, anyway

come to think of it, that whole east coast rave thing (wink, nigel richards, feelgood, scott henry, etc) was really pretty bad. now that i think of it, the west coast shit (hardkiss, rabbit in the moon, donald glaude, simply jeff, etc) was bad as well. and then of course there was the florida crap like icey. i think rave and me were just not meant to be.

hardkiss are great too

oh yeah i forgot about how bad NYC "techno" was: beltram (outside his few obvious classics that i do like, but not even that much), bones, etc. god, raving in the US was a pit of obnoxiously terrible music.

do you actually dislike this stuff or do you just dislike the fact that you can't contextualize it as part of THE GREAT BLACK TRADITION of techno and house

no i just hated all of this before i knew anything about techno and house music. it was once i started listening to the good stuff that i noticed the correlation, and then upon reading more about it i discovered that it was connected in the way that it was a culture before rave that was quite separate from raving.

i don't think it's quite as separate as you'd like to think, but whatever

i would say there is about 15% overlap, and that represents most of the worst music to come out of NYC, Chicago, and Detroit.

i mean there's a whole scene of dudes like dj sneak and derrick carter and green velvet and whatnot who were playing american rave and playing stuff in the chicago tradition, but then they had the advantage of actually growing up in chicago where they had access to stuff like that.

why can't you just appreciate US rave music on its own merits the way you'd appreciate, i don't know, jungle?

are you really calling armand van helden the worst 15% of music to come out of NYC?

Going to try to resist saying anything about new Wink until I've finished listening to it. It's going to be hard, though.

Now I finished and I find I can't say anything. My ears feel awfully clean, though, and I think I want to fight a truck.

oh god, stimming's "loneliness" off his new album is annoying!

bill withers - who is he (henrik schwarz edit) - love this, rad little string interjections and the trick he does with the stereo channels in a few of the samples is very smooth

tobias freund has been remixing his share recently, s/d? russ gabriel, franco cinelli, alex under, nhar??

Russ Gabriel remix is pretty great. Not feeling the October remix, but I think I'm missing the point of that whole release. Haven't heard the others you mentioned.

how is russ gabriel's new stuff?

Re: Pier Bucci. Loving his remix of Ziggy Kinder - Flipflop Crash. The perfect combination of melancholy and jack.

xpost - whatever, but he isn't a "tool".

tools are more useful than music. for instance a bottle opener opens a bottle. music on the other hand offers a path into utility free worlds.

i mean, if you don't want people to call you a tool, i suggest never having white guy dreadlocks.

^^ this is actually on-point

i'm glad we've found something we can all agree on

Yo, I didn't know where else to ask, and it didn't seem worth starting a new thread, but song ID from this new Sprint commercial? It drives me nuts every time I see it.

yo, me too want an ID for this amazing track played by move d last year: http://www.zshare.net/audio/586251130441f6e5/

@ slugbaiting

http://theinspirationroom.com/daily/2009/sprint-whats-happening-now/

just getting into culoe de song - 'the bright forest' is incredible. so menacing. that piano...

re: the move d id

is it just me or does that fast melody sound like it's from another song?

yeah i suppose that video is a little exploitive, but not so much compared to titling your recent dj mix "fabric 45 - omar s (detroit)"

thanks, groovypanda. song sounded so familiar... guess it wasn't, though.

i gave it a quick spin last night but i agree with lex, that culoe de song record is very nice.

The Resident Advisor podcast he did is lovely, if you haven't gotten it yet.

just want to share my happiness: dixon is coming to my country! wooohoooo!!

STL, "Silent State"

My mind is blown. What an elegant tune. Will someone please force Stefan to make an album for, say, Perlon? Or hell, Smallville if it's going to sound anything like "Silent State."

Where can I hear it LWE? Streaming anywhere?

I've not seen it streaming anywhere yet, but it's leaked all over the place, sadly.

Oh, you can hear it in Efdemin's new mix for us: http://www.littlewhiteearbuds.com/talking-shopcast-with-diamonds-pearls-music/

so, what does "upbuilding" actually mean?

i been repping Culoe de Song for a while now. love the RA podcast.

i have tried and tried and tried to like Josh Wink, but i still hate him. the new album, the older stuff, all of it-- i just can't get into it, and don't really have the time or inclination to investigate the reasons.

so, what does (any term mentioned in a boomkat review) actually mean?

'upbuilding' always gets mentioned with tracks that have those slow layer by layer builds - i think of 'balandine' as an obvious example.

totally feeling this right now (A-side, mostly)

what's it like?

ooh, google reveals that it is actually an edit of a real to reel track from the 1980's, but more beat-choppy. dub version removes the vocals

source material:

floating points orig. vers.

guys i went a bit mental with the credit card last week and now a package has arrived at work from juno. i wanna go home and play these! stupid job.

DPLAY - Huub Sand - Running Back Germany 12"
JAYSON BROTHERS - Monster Box - Raw Cuts 12"
SNUFF CREW - Lovefreak - Playhouse Germany 12"
PANTHA DU PRINCE - Behind The Stars - Dial Germany 12"
FAZE ACTION - Good Lovin' - Faze Action 12"
CAPRACARA - King Of The Witches - DFA US 12"
MARK E - Slave 1 - Running Back Germany 12"
ALTER EGO - Betty Ford EP - Klang Electronik Germany 12" <- old bobbin

I'm loving Oliver Huntemann's "H-3" ... it's a bit of a slow burner, but it'll reward your patience if you give it a chance.

hey remember how clone was meant to be shutting down as an imprint for new music last month? they actually are launching SIX new sub-labels!

Details?

haha that was rather rude wasn't it? details here

ok so everyone is right about the culoe de song. "the bright forest" and their ra podcast are all the convincing i need

errr, his ra podcast

yes it's great. rhythmically, the b-side especially really has a different feel to current trends, but without seeming like some obvious attempt at an 'african' track.

and i usually dig those more obvious attempts at 'african' tracks, so when someone pulls it off this tastefully it's like double bonuss. the whole ep is on a similar tip to ghost note's excellent 'holy jungle" ep from last year (not too get too beardy on u dudez)

the download-only bonus track "super afro" is also worth hunting down

well the geezer is completely african

news just in.

“Time to bring the funk and intensity back in a new way. Time to open the sound again”, says Luke Slater about his new Planetary Assault Systems album “Temporary Suspension”, which will be released on Ostgut Ton at the end of June.

could be a good'un given that i still regularly play his fear and loathing - vol2 mix from 2004

I have a promo of that, must check it out.

The Culoe De Song is great. I mean, so much marimba laden house in that style over the last few years, plenty of which I like, that you wouldn't believe someone could do a definitive version at this stage, but all three tracks are really great, and yeah, the digi bonus track is maybe best of all.

i realize the dude's actually african, maybe thats why the music doesn't feel the need for too many overt african references (like you might find in say, certain henrik schwarz remixes)

does james zabiela play some good sets? he's coming to my country and i'm considering to go.

Your country's blowing up Durr, much like Atlanta lately. Claude von Stroke this weekend, Dario Zenker the next, Tanzmann and (fingers x-ed) DJ Koze in the near future. This is exciting.

Okay, I admit that I love African and tribal house stuff, but Henrik Schwartz and Amampondo are collaborators. They know each other and work together. Yeah, he ain't South African by no means, but slagging him for this sort of thing has always seemed a bit unfair to me.

New Kyle Hall sound clips sound great, really great: http://www.rushhour.nl/store_detailed.php?item=49315 In particular that title track with Bsmnt City Anymle Kontrol (a group of other 17 to 21 year-olds including Amp Fiddler's son).

"i realize the dude's actually african, maybe thats why the music doesn't feel the need for too many overt african references (like you might find in say, certain henrik schwarz remixes)"

I dunno, Culoe's resident advisor podcast has a whole heap of overt african references. Even the title of the third track "Reggie Dokes feat. Athenai & Sage Monk - Let Me Go (Culoe De Song Zulu Spirit Mix)" kinda gives it away.

tbh i wouldn't really mind if he indulged in that stuff even more, i promise i'm not trying to lead us down the whole "being from africa=legitimacy" path of reasoning. that schwarz & amampondo cut is on the ra podcast too, so obv there are holes galore in my argument.

also he is 17! i mean, this makes for a way better feature than the martinez bros thing imo

Yeah I actually really like the overt african references. I think either the track I mentioned or the one before it is a pretty awesome afrobeat-house fusion.

Arguably signing De Song and having him sample "Timbuktu" is Innervisons trying to retrospectively legitimise their preexisting "it began in africa" tendencies...

his actual name is culolethu zulu, i don't think it's fair to label putting it in the name of a remix as an "overt african influence"!

Ha, fair point. What's wrong with overt african influences anyway though?

well, indeed

There is a wealth of good stuff released in the last 3/4 weeks...

Feel like the only person in the world that doesn't really like Culoe De Song's 'Bright Forest':(

Picked up Mountain People 007 yesterday. Really like this, first one of theirs I've got into. And I love Justin Martin's remix of Marshall Jefferson's Mushrooms, always going to go for that kind of bassline

i really have passed on everything i've heard form Mountain People, so your Culoe de Song blaseness is forgiven. ha.

i will say, though, that i believe "African Subway" to be far, far superior to "Bright Forest."

"Bright Forest," in some ways, seems the least 'African' of any of his work. if anything it has a bit too much of Ame and Schwartz's sonic palette in it for my tastes.

not that i don't like both Ame and Schwartz-- i just think African Subway has more propulsion, more interesting rhythms and persussive flourishes.

also, my ears have really been rebelling against strings recently, so that might have something to do with it.

i agree that "african subway" is the superior of the 2, but also agree w/LG about "super afro" being possibly better

Are those the strings from Gorecki Symphony No.3 in Culoe De Song's Bright Forest?

wouldn't surprise me.

i just walked home listening to "A Nightingale" from that Isolee single and think I can honestly say that after a couple spotty times recently, I have been won over again. Track is brilliant.

i second a nightingale. picked it up in the middle of a load of stuff and didnt really stick out att the time but after a few listens i love it

Excited to see Mikael Stavostrand tommorow.
Also, I wish overt chicago house memes weren't such a loaded issue, because I would certainly smile if I were ever to see a Samuel L. Jack-Session version of something (and yeah, even those banging Swedish dudes have been housing up their tracks).
Sorry.

Been listening to Modern Dance, Jacek Sienkiewicz's mix-of-his-own-stuff (is there a good name for this type of thing yet?) non-stop. "All Yours" is awesome.

Is that a commercial mix or what maciej?

Yup, it's on Cocoon. The CD's not out yet, at least not in the US, but Beatport has it.

STL, "Silent State"

^^ this. it's like a chain reaction dub of "lovelee dae".

i am really liking the martyn and intrusion albums as well. would like to hear the jacek sienkiewicz.

here are the top 50 best selling house 12"'s on juno for the past six months (juno has a pretty loose definition of house)

1 MGMT - Kids (Soulwax remix) - Sony BMG
2 The Detroit Experiment - Think Twice (Henrik Schwarz remixes) - Juno
3 Moody - Anotha Black Sunday - KDJ
4 Afefe Iku - Mirror Dance - Yoruba
5 Kid Cudi vs Crookers - Day n Nite (promo) - Data
6 The Mountain People - Mountain 006 - Mountain People
7 Carl Craig/Moritz Von Oswald - Recomposed (Craig/Villalobos remixes) - Polydor
8 The Detroit Experiment - Think Twice (Mark E remixes) - Juno
9 Steve Angello/Laidback Luke feat. Robin S - Show Me Love - Data
10 Tiga - Mind Dimension - PIAS

11 Jesse Rose feat. Hot Chip - Forget My Name - Dubsided
12 Toka Project - Weekend World - Ornate Music
13 Floating Points - Love Me Like This - R2
14 Audiofly X - Plan B - 8 Bit
15 Delano Smith - Sunrise - Third Ear
16 Matt Star - Kuhle Fliege - International Freakshow
17 Kid Cudi vs Crookers - Day n Nite - Data
18 Sasha - Three Little Piggys - Emfire
19 DJ Mehdi - Pocket Piano - Because Music
20 Anton Pieete - Players - Intacto

21 V/A - Switch Sampler - La Musique Fait La Force
22 Holy Ghost/Afefe Iku - Secret Sundaze Album Sampler B - Secretsundaze Music
23 Schatrax - Vintage Vinyl EP 2 - Schatrax
24 Deadmau5 - Ghosts n Stuff- Mau5trap
25 Luciano Esse/Toni D - Wood - Material
26 Gary Beck - Consumed - Edit Select
27 Argy/Martinez Brothers - Debbie Downer - Objektivity
28 Einfach - Lemany - Einfach
29 Yesterdays - Yesterdays - Unknown
30 Mr Oizo - Postif - Ed Banger
31 Radio Slave - Sex Trax - Running Back
32 VA - Back in the Box Sampler 1 (DJ Sneak) - NRK Sound Division
33 DPlay - Huub Sand - Running Back
34 Equalized - Equalized 002 - Equalized
35 Jay Shepheard - Absolute Voltage - Compost Black Label
36 Zed Bias feat Jenna G/DRS - Sound of Love - Development
37 Mountain People - Mountain 007 - Mountain People
38 Hell - The Angst - Gigolo
39 Omar S - Blown Valvetrane - Sound Signature
40 Cavalier - Ride 'Em EP - Drumpoet Community

41 VA - Back in the Box Sampler 2 (DJ Sneak) - NRK Sound Division
42 Ben Klock - Before One - Ostgut Ton
43 Dop - Blanche Neige - Circus Company
44 Guns n Bombs - Riddle of Steel - Kitsune
45 The Prodigy - Omen - Universal
46 Pryda - Animal - Pryda
47 Deadmau5 - Catbread - Mau5trap
48 Justin Martin - My Angelic Demons - Buzzin' Fly
49 M For - Larkshead - Reincarnation
50 Gorge - Garuna - 8 Bit

... and the next 50

51 Digitalism - Hands On Idealism - Kitsune
52 Guy Gerber - Timing - Cocoon
53 Marco Carola - Bloody Cash - Plus 8
54 Andy Riley (Inland Knights)/Da Sunlounge - Borrowed Vol 3 - Borrowed
55 Sebastien Leger - Majestic - Mistakes
56 Guru Josh Project - Infinity 2008 (Remixes) - Do It Yourself
57 Modeselektor - Happy Birthday! (remixes pt 2) - Bpitch Control
58 Flora Cruz - Let The Sunshine Out - Ibadan
59 Kreon - Hey Jack - Cecille Numbers
60 VA - Freerange Records Color Series: White 06 Sampler - Freerange

61 Scrubfish/Laurence - The Freddie Fresh All Star Flare EP - Guesthouse
62 DJ Sneak vs Herve - Droppin Kisses - CR2
63 Hobo - From A To B - Minus
64 The Rogue Element - Hive - Exceptional
65 Outsiders feat Amanda Wilson - Keep This Fire Burning - Loaded
66 Kurd Maverick - Blue Monday - Data
67 Geoffroy/Kolombo presents Mugwamp - Meditation - Kompakt
68 James Curd feat J Dub - You Know What To Do - Greenskeepers
69 Mstrkrft - Bounce - Downtown
70 Arthur Russell - Arthur Russell Interpretation 2009 - Electric Minds

71 Chris Liebing - Turbular Bell - CLR
72 Incognito - Step Aside - Dome
73 Bim Marx - Stronger - Stiloveformusic
74 Jay West - Blue and Gold - Bambino
75 DJ Sneak - Da Pimpdoggy Chronicles - Downtown 161
76 The Lost Men - Pace of Mind - Drumpoet Community
77 Omar S - Out of 853 Beats (green 7") - FXHE
78 Wbeeza - New Skank - Third Ear
79 Cabin Fever Trax - Cabin Fever Trax Vol 2 - Rekids
80 Mobin Master feat Robin S - Show Me Love (remixes) - Hed Kandi

81 Ilario Alicante - Living Near Africa - Cecille
82 Idjut Boys - Droid 2 - Droid Behavior
83 Slam - Paragraph 01 - Paragraph
84 The Bodysnatchers - I Like What I See - Passenger
85 Kerri Chandler - Track 1 Revisited - Max Trax
86 Ron Trent/Chez Damier/Rozzo - Secretsundaze Album Sampler A - Secretsundaze
87 Gorge - Kassiande - Freerange
88 Chris Carrier - Living Here - Robsoul
89 Buy Now - Body Crash - Superstar
90 The Kills - Cheap and Cheerful (remixes) - Domino

91 Move D - Cube - Running Back
92 Candy Dealers - Stepping Out - Flapjack
93 DJ Asparagus/Wipe The Needle - Ur Daddy Loves U - Gamm
94 Franz Ferdinand - Ulysses (remixes) - Domino
95 Ada - Forty Winks - IRR
96 Sticky K - Bandari Funk - Dubsided
97 Black Jazz Consortium - New Horizon - Soul People
98 Andre Lodemann feat Natalie Claude - Searchin - Best Works
99 Norman Nodge - MDR 005 - Marcel Dettman
100 Gaiser - Trunkated - Minus

thanks, djmartian

"here are the top 50 best selling house 12"'s on juno for the past six months (juno has a pretty loose definition of house)

― butter tickle (tricky)"

ha i own exactly 4 of those 100:

3 Moody - Anotha Black Sunday - KDJ
39 Omar S - Blown Valvetrane - Sound Signature
73 Bim Marx - Stronger - Stiloveformusic
97 Black Jazz Consortium - New Horizon - Soul People

though i will be ordering that Floating Points record as soon as i can. i probably need to do an order from overseas to grab that and that Kai Alce on Deep Explorer.

Richie Hawtin got his Traktor synced with his Twitter account so it shows his setlists in real-time:

http://twitter.com/rhawtin

richard hawtin

2 The Detroit Experiment - Think Twice (Henrik Schwarz remixes) - Juno

is this any cop?
much as its amazing i cant believe that EQD record was so popular

the mark e is better than the schwarz imo

are you sure that's not just a list of current top 100 or something tricky?

Geoffroy/Kolombo presents Mugwamp - Meditation - Kompakt is only out for like a week or so, as are a few others.

i agree that the mark e remixes are better.

re the list, you can sort the best selling vinyls by this week, last week, last six months, and "all". i sorted by the last six months and the list above is what popped out. i was surprised by a few things too, like, for instance, why is "anotha black sunday" so high, but "det.riot" is missing?

think they drop stuff not currently in stock, don't they?

maybe its because half the tracks on det.riot are duff

"think they drop stuff not currently in stock, don't they?"

that must be it! and there is no option to show out of stock items from what i can tell. the list above is skewed big-time. also missing are SiS, soundstream, etc, etc

still doesn't bode well for sales if stuff that's just out can be in the top 60 or whatever.

6 The Mountain People - Mountain 006 - Mountain People

nice bit of synchronicity there

the dOP is pretty swell...

also really feeling the new Black Jazz Consortium.

Looking at that list, I really just don't own new records (I'm saving up to blow a lot of money when I go to Mutek - although record store says they found a lot of used techno records in the basement and I can take a look (!).

Oleg Poliakov - Rainy Dayz (Portable Remix), thanks entirely to Ronan's blog, where stream it, is very much my sort of thing, that I have to get.

*where you can

of course.

maybe its because half the tracks on det.riot are duff

and anotha black sunday is an unqualified masterpiece

i know, just trollin. i actually do think anotha black sunday is much better, i prefer sexy moodymann to dirty moodymann

Henrik and Ame on Beats in Space (!!)

Pt 1 with: Henrik Schwarz + Ame Henrik Schwarz (live):
1. Equinox - Code 718 (Henrik Schwarz Remix) - Strictly Rhythm
2. Detroit Experiment - Think Twice (Henrik Schwarz Remix) - Juno
3. Henrik Schwarz - Untitled - Unreleased
4. Kuniyuki - Dear African Sky (Henrik Schwarz Remix) - Mule Musiq
5. Visti & Meyland - Yes Maam (All Nite Long) (Henrik Schwarz Remix) - Eskimo
6. Joey Negro And The Sunburst Band - Man Of War (Henrik Schwarz Remix) - Z
7. Omar feat Stevie Wonder - I'm Feeling You (Henrik Schwarz Remix) - Peppermint Jam

Ame DJ Set:
8. Ame - Setsa - Innervisions
9. Herbert - Birds - Back To Basics
10. Anton Zap - Deeper - Quintessentials
11. Pressure System - Voices From Planet Love - Running Back
12. Robert Dietz - B1 - Running Back
13. Mood II Swing - Slippery Track - Groove On
14. - - Music Institute
15. - Untitled (Ame Remix) -
16. Crowdpleaser - Feelings (Kalabrese Remix) - Drumpoet Community

^^ is great, was listening to it in the wee hours last night

ame have remixed 'brooklyn club jam'!

JOSH WINK

still??

again and again

anyone have any idea what this track i heard last night at the leather bar was...?

sorta Dapayk/Great Stuff-ish vibe to it, but had a German sounding voiceover that said something about "I went out for a walk, but I was too high so I put my sunglasses on" or something along those lines. it was really fun. Any ideas?

That Josh Wink track I downloaded because I said it sounded interesting, Minimum 23, actually is pretty good, really fun to mix with. DOn't know about the rest of the album.

this lineup blew me away

(from the berghain newsletter)

Mittwoch 20.05.2009 Start 21 Uhr Spex Live
Berghain/Panorama Bar/Lab
Phoenix LIVE - v2
Phantom/Ghost LIVE - dial
Little Boots LIVE - iamsound
Ricardo Villalobos - perlon
Hell - gigolo
Ben Klock - ostgut ton
Lawrence - dial
Jenifer Cardini - kill the dj
Miss Fitz - contexterrior
Will Bankhead - honest john’s
Pet Shop Bears
Tobias Rapp - suhrkamp

these purple flowers have no name

?

Does Philip still write his Pitchfork column? It's been like, what, 6 months or so?

i encourage all to listen to House Motion online radio-- Fred P. has a show starting in two minutes!

http://www.motionfm.com

i do mean it...he's quite a good DJ and i am enjoyin myself thoroughly.

the new Luke Hess is treating me quite nicely right now.

also ANCIENT METHODS. like someone took Africans with Mainframes and made them listen to Einsterzende Neubaten for a couple weeks.

also JOSH WINK

I checked out those Ancient Methods records and was a bit underwhelmed. It just seemed kind of macho and pretentious. It seemed like the took the anti-pleasure aesthetic of Sahko and mixed it with the boy techno and 2nd hand industrialism of Downwards and wound up with the worst of both worlds.

My guess is that they will have a run for a year or two and then it will be another forgotten dollar bin 00's techno project.

Why do you think AwM don't listen to EN?!?!?!?

also JOSH WINK

― moonship journey to baja, Saturday, May 9, 2009 8:07 PM (Yesterday) Bookmark

the most obvious street teamer ever?

Josh Wink doesn't need a street-team.

thanks jim but it's spelled JOSH WINK

new column this week! and yes, it has been, like, six months.

pipecock, i don't think AwM don't listen to EN. i was just trying to describe the sound for those who don't know.

Display Name, i think that i just have an abiding love for this sort of thing... i mean, there have been months where all i've listened to is AwM & Surgeon & British Murder Boys & Pom Pom.

also, i think it is a bit more complex than you make it out to be...or at least more interesting.

like i also think that this guy's first full-length is one of the most underrated/unknown records of the decade: http://www.myspace.com/tupperwearmusic

also, all y'all in NYC-- i hope yr going to see Dopplereffekt & Santiago Salazar at Le Poisson Rouge on the 16th. i am peeing myself in excitement, quite honestly.

I am really curious to see how the Dopplereffekt gig is going to go. I wonder if it will be full on electro or if it will be experimental. I was shocked to hear that this is coming through Austin. It will be an interesting gig, I wonder if anyone beyond the Texas underground heads is going to show up for this. I know the Dallas and Houston squadrons will be out in full force but I have my doubts about Austin.

To each their own. I tuned out on the Downwards guys after 1998 or so. That whole thread of hard post-mills techno just never really got me off. I check in on them every so often but it still seems agressively masculine in a way that just doesn't interest me.

S2 is the man, awesome deejay, great guy. i've heard mixed reviews about the Dopplereffekt gigs, but i wouldn't be the guy missing it if it were in my town.

yeah, i've heard mixed reviews of the Dopplereffekt shows, too, but it isn't a thing to miss. i'm looking forward to S2's set as well-- the last time i saw him with the UR DJ Assault Squad in 2007 was totally ace, and i'm also looking forward to catching up with Nomadico at the gig-- i feel Dex/Nomadico is one of the unfortunately less-rated of the UR peeps, mostly cause he's so new, but everything he's produced or co-produced is so tight that it is shocking. his mixes are also nuts.

for my part, i am hoping Dopplereffekt will do a nice mixture of the more techno-warrior and experimental-headtrip shit-- they do both so well.

basically, if it says "UR" next to a deejays name, they are gonna be pretty good. they don't let any old joker throw that next to their name, mike knows what a good deejay is. i mean shit, mills and hood were the original UR deejays!!!!

anybody else obsessed with Osborne's Hovercrafting EP? Wait a Minute and the Arto Mwambe remix are in constant rotation right now

Osborne's sound in general is great

Legowelt's "Sloppy Jitt" EP for Delsin is fantastic -- deep, raw, incredibly romantic. I'd always thought he had a rep for being rather brutal, but these four tracks are all dew and moonbeams (and 303s, of course).

speaking of Legowelt, has anyone checked out that Futuristic Abeba 12" under his alias Nacho Patrol? weird afro-techno that hits all the right spots for me...

http://www.discogs.com/Kez-YM-City-Soul-EP/release/1734885

This is a solid Detroit house record by way of Japan.

there's a new kassem mosse. yay.

"Legowelt's "Sloppy Jitt" EP for Delsin is fantastic -- deep, raw, incredibly romantic. I'd always thought he had a rep for being rather brutal, but these four tracks are all dew and moonbeams (and 303s, of course).

― pshrbrn"

legowelt does all kinds of sounds. unfortunately for him, i tend to like his live sets much more than the records. that Delsin thing is cool, but if you're gonna do the Chicago style shit you've gotta come more correct than that. also wasn't feeling that Nacho Patrol one mikebee, i don't know. i want to like his stuff on wax, but something about it doesnt do it for me.

i like the sound of that Kez YM...

The Luke Hess album does sound great, but it has left me feeling that I may have heard all the dub techno I really need to hear. Like it's really well done, but doesn't really capture my attention. The new STL that everyone is ga-ga over left me feeling the same way.

i think i felt that way about dub techno a long long time ago. i usually have been buying maybe 2 things a year related to it, that's more than enough for me. whole albums usually end up being complete overkill.

i for one think that the dub-techno label affixed to Luke Hess isn't always justified...five out of nine tracks on the new one could very well just be 'techno'-- some of them even sound like Omar-S a bit, which isn't surprising, but Hess definitely straddles the line between Echospace-style productions and more BC-style productions. and no matter what anyone says (especially the Echospace dudes), the stuff on Echochord and so on is much more 'dubby' than Basic Channel ever were.

that said, i agree about the STL-- shit was boring. dub techno still has a lot of good stuff going on in it (for example, Bvdub's excellent ambient dub work), but it got really oversaturated quickly-- Hess has been doing it for a while, and doing other interesting things as well, so i don't think it fair to use him as a sacrificial lamb.

"The Way," as one example, is definitely more techno than dub...just because it has those swells in it doesn't make it dub-techno.

No intention of making him the sacrificial lamb. I actually thought the album was really well done. That fact that it was so well done and still left me feeling a bit disinterested is what prompted my post.

As for the STL, I've been kinda on the fence with him throughout. His stuff on Something is just so thin and crispy that I can't tell if I think it's "his own sound world" or just the result of pressing what seems like an album's worth of material on each side of vinyl. Even the tracks I do like don't always justify their length in my opinion and part of the issue seems to be the "mastering." I guess my real question with the over-the-top praise of "Silent State" is what makes it stand out in his oeuvre? Maybe the fact that it does sound fuller and more there is part of answer.

are you guys getting the feeling that the patented BC-style dub stab sound is turning into today's trademark techno sound, akin to the 303, hoover, detuned sawtooth arppegio? will we be hearing BC stabs in top 40 singles and southern rap in a few years?

btw I <3 the Luke Hess album. am also getting kind of tired of the dub techno sound, but this album is a cut above. also agree that Bvdub is doing great stuff, and can't wait to hear more from him.

in some ways, i feel like that dub stab has turned into a trademark sound-- not throughout all of techno, but definitely among certain groups of producers.

i also rate the Luke Hess highly-- great album for this time of year and into the summer months.

The Luke Hess album does sound great, but it has left me feeling that I may have heard all the dub techno I really need to hear. Like it's really well done, but doesn't really capture my attention. The new STL that everyone is ga-ga over left me feeling the same way.

I agree with this 100 per cent. Vahid had a go when I said that I felt dub-techno was starting to be equivalent to some cred version of lounge house 5 or 6 years ago, but I stand by that. There is so much stuff out there that's just about good enough not to be utter formula, but isn't doing anything new whatsoever with a fairly strict template.

The STL track is v nice and better than that type of stuff but I'm not thinking it's mindblowing, just a nice mellow tune.

just a bit of fun, let's be cool ... seriously though i think i agree with that assessment now, recent intrusion and mikkel metal albums notwithstanding. like as enjoyable as those were i was definitely like ... did i really need to hear/buy that?

yeah I know it was no big deal!

it's a weird issue because yes, some of the stuff just sounds fantastic, eg that sandwell district stuff, i've had it on and friends who don't like techno ask about it. it's quite accessible too. but what's the point after a while...

specifically mean the violencia 12

considering dub techno: even those more dancefloor-friendly tracks don't get proper recognition(ribn 'mined' got popular among djs like half year after its release date). therefore it's rather muddy territory, not played->no recognition->no fresh blood->stagnation->another modern love oh-so-deep-ambient-like 12'. biting its own tail a bit.

and i'm listening to mike huckaby's bunker podcast atm. pretty anything but not dub, so even the artist i'm personally considering as the leaders in whole genre are heading at different direction. give it a listen, worth it.

and stl's paperboy was one of my favorites tracks of past year. i reckon that 'mastering' issue is rather consiously-chosen aesthetic and it works rather well. his records have to be lengthy, humming and cracking all over - otherwise their sound pretty dummy and flat. i know it's a cliche in saying that you have to sink into sound, but stl's work is one of very few things that defend from the 'clicheness' of this statement.

anybody showing some love for martyn's remix of efdemin. this one is brilliant.

and hello there, first post, sorry for gibberish.

martyn remix of efdemin is fire. Sounds a bit broken beat.

speaking of efdemin, his remix of hatikvah that's just out is really good, first thing he's produced himself in ages that I rate. the originals and other mixes on the ep are quite good along with that.

martyn's remix of efdemin

love the dark mix, could very easily picture it is an opener

Mike Huckaby is a very diverse deejay, he plays everything from disco to banging techno and everything inbetween. his productions have really taken a turn towards being primarily "dub techno" recently, before that he has lots of jazzy and deep house that is also excellent. he had an excellent minimal techno jam on that Roland King record on M3 that is always close to my box.

speaking of broken beat, as i was shelving some records last night i came across Seiji's remix of Fertile Ground, that shit is off the chain.

Oooh, have to hear both those efdemin remixes in full, but especially the dark mix (it really brings out the quality of the individual elements of efdemin's productions, which are always great but don't always gel that well, I've found).

Agree with everything about Silent State. A satisfying, above average track that doesn't strike me as half as memorable as say, Move D and Benjamin Brunn stuff, to throw out a semi-random example. I.e. not the "instant and eternal classic" (as I've seen written) up there in the ranks with Model 500, or one of the best tracks of the decade.

I feel I should also mention Matt O' Brien's remix of Acid Bells is a stormer of a track too (although far from being 09 bobbins, though).

I guess my real question with the over-the-top praise of "Silent State" is what makes it stand out in his oeuvre?

Of all the STL I've heard it's the only one to explicitly use dub effects. It's just so beautifully textured and exceptionally deep. I've not heard much if any other dub techno that reminds me of "Silent State," the way he nudges the sounds around on different levels all at once. Even the other side, which is a bit more conventional, wrings a lot out of dub methods. B1 is all edges while B2 is so smooth and almost housey.

I mean, if you're expecting big impact stuff you're looking in the wrong place. I've always found STL's tracks eschew big moments in favor of spreading their power over extended lengths.

Kinda funny that so many are all burnt out on dub techno. Another trend that has nearly run its course.

I don't think these reactions are particularly anything new, though. I seem to recall reading similar posts from over a year ago or so with the same sort of complaints, or of people calling it out as something jumped on as a trend before that.

almost picked up the martyn remixes of efdemin the other day. nice that it's a 10", but it didn't grab me the way martyn's album did. instead i got the intrusion dubs of "miles away" by linkwood family (180g white vinyl = wow), the morgan geist remix of the whitest boy alive and the redshape remix of newworldaquarium on delsin.

i'm not tired of the dub techno genre at all. i think you just have to be super-selective about it.

oooh i want the linkwood/intrusion thing, sounds tight.

yup. cover art is tight, too.

http://cdn.images.juno.co.uk/full/CS346415-01A-BIG.jpg

I agree with this 100 per cent. Vahid had a go when I said that I felt dub-techno was starting to be equivalent to some cred version of lounge house 5 or 6 years ago

extreme distortion of time. this was about 18 mos ago!

oh ok. the equivalent of lounge house five or six years ago, duh. i misread your sentence. don't post at seven in the morning... (i actually agree with your point about contemporary dubtechno (deepchord echospace etc) being lounge music esque, so wasn't trying to start anything).

Just in terms of how the music feels, I don't get the Echospace/Deepchord as lounge, or lounge house, thing at all. Maybe I don't know exactly what Local Garda means by 'lounge house', but if lounge house was a laid-back reaction of hard house or whatever, then what is the recent popularity of retro 90s dub techno a reaction to? Minimal?

I get that this stuff is probably really appealing to stoners and audiophiles aka living-room-stereo techno fans, but unlike anything lounge-y I've heard; it doesn't hit me as a light, breezy, or happy sound at all. So, unless we just fundamentally disagree on that point, I can only assume you're talking about how they fit into the whole club music continuum, history-of-dance-music thing or whatever.

As far as 'contemporary' goes, isn't the deal with Deepchord that he picked up in the late 90s, where later period Chain Reaction (Fluxion especially) stuff left off? I remember s1sking highly recommended Deepchord stuff in like 2001-2002 and thinking it sounded like some dude who wished Fluxion, Monolake, Scion, Maurizio & Porter Ricks would have kept making the same stuff. Now that the sound has gotten prevalent across a few electronic genres, with the Echospace crew still in the middle of it, I guess I look at it more like it never really went away. The torch just got passed to newer dudes, and they are adding their own flavor to it. Though I am sort of getting tired of songs that lean too heavily on the Chain Reaction dub stabs, I think I might like dub techno circa late 00's better than most of the 90s stuff. Heresy!

If anything, might this stuff be more accurately compared to the Artificial Intelligence-era Warp stuff?

I think you're overreading Ronan's comparison. This is good for a LOL though:

"if lounge house was a laid-back reaction of hard house"

Haha would be funny if I thought that me and Vahid conversation was 5/6 years ago, I think it was actually like 3/4 months ago.

I mean, if you're expecting big impact stuff you're looking in the wrong place. I've always found STL's tracks eschew big moments in favor of spreading their power over extended lengths.

Don't get me wrong I think the track is a cut above a lot of stuff, but surely it should still have a big impact even as it eschews big progressions/big moments. Like "Starlight" for example, forgive the rockism. I mean if people are talking best track in years etc then I'd expect to think "wow" after listening to it, I'd expect some kind of reaction above a well thought out critical one (which has its place as well, but comes afterwards.) Wouldn't most of the classics would have had this at the time of their release?

I think a lot of the buzz for this is due to it being the right artist on the right label, not that people don't like it genuinely, of course they do, but the timing couldn't be any better for either STL or Smallville.

pretty much, if you ask me.

Yeah tricky, I think I might like the Redshape remix of "Trespassers" better than the original.

me too. it is good to hear a NWA track remixed for the dancefloor while still retaining the NWA-ness.

"Yeah tricky, I think I might like the Redshape remix of "Trespassers" better than the original.

― matt2"

heresy

what isn't dancefloor about the NWA original?!?!?1

good point. i am thinking more along the lines of NWA getting exposure in sets where his tracks wouldn't normally appear.

cuz i think the dead bears was slept on big time.

i actually wasn't feeling the Dead Bears or the EP prior to it on Delsin. something about the production sounds too clean on those, it doesn't give that same effect as the early shit he did as NWA. i got the Newworldromantic joints recently on vinyl (FINALLY!) and they are so so so good too.

did "trespassers" ever get a full release on planet e? on discogs i only see a promo.

rockapads otm re: deepspace/echocord as sort of ossifying that vision of late 90s-era chain reaction. i remember there being a glut of me-too BC/CR stuff coming out around that time, and am kinda surprised that dudes making carbon copies of that sound 10 years later are getting the current amount of hype, but i guess everything being cyclical, etc.

ok, steffi's mixtape #27 has just blown my mind - wtf is that incredible final track! all the track listings i've found only list up to 'dpomb 1', about half an hour from the end...

Yeah, I hear ya pipecock. I actually nearly posted "heresy!" after my initial post. I mean I definitely love the original and I definitely love my extra long dusty house grooves, but I still always felt the original could've used a little extra thump and variation. And I'm only about 50/50 on Redshape stuff usually, but this one really works for me.

I mean if people are talking best track in years etc then I'd expect to think "wow" after listening to it, I'd expect some kind of reaction above a well thought out critical one (which has its place as well, but comes afterwards.)

Personally I just sat there gobsmacked after hearing "Silent State" by itself the first time. Then I plugged in my headphones, turned it up and played it again, still gobsmacked. Not to mention how excited I was when I heard it first in Efdemin's Talking Shopcast mix for LWE. But each to their own, I guess.

hey, i picked this up today: http://www.discogs.com/Various-Sampler-EP-8/release/1741918. (it is very dope!) along with some UR 7"s from Dex and Aquanauts.

also have secured a copy of the new Hieroglyphic Being-- picking that one up tomorrow!

Personally I just sat there gobsmacked after hearing "Silent State" by itself the first time. Then I plugged in my headphones, turned it up and played it again, still gobsmacked. Not to mention how excited I was when I heard it first in Efdemin's Talking Shopcast mix for LWE. But each to their own, I guess.

fair enough but then why say if you're expecting big impact stuff you're looking in the wrong place. I've always found STL's tracks eschew big moments in favor of spreading their power over extended lengths

What I mean is, the majority of STL's tracks are not flashy and don't need big riffs to stun me.

My gut feeling is that most people I've spoken to think it's good but are not blown away, seems borne out on this thread, I personally think Efdemin's massively positive feedback line that came with the promo caused a lot of early adopting/reviewing people to really seriously consider the record in a way they may not have otherwise. People don't talk about those feedback lines much but I do think they have an influence.

But I can't prove that.

I haven't heard Silent State, can it be as good as <a href=http://www.discogs.com/Visitor-Stop-The-Music/release/122479>;'Stop the Music'</a> (maybe my favourite of Efdemin's favourites - he was playing it almost every weekend 2-3 years ago)

Stop the Music - Visitor. Fantastic record

ok, steffi's mixtape #27 has just blown my mind

― lex pretend

mix of the year so far for me. lovely track selection and beautifully programmed. i've seen some discussion on one of the RA forums but i'm quite enjoying being blind to the track listing.

where is this mix at

Try this

nice one...weirded out by the "i'm a dude my gf doesn't like techno" steez but link works well :)

Lex its DXR - Dark Rain

awesome, thx!

i agree with the people not blown away by 'silent state'. it's kind of dull. much prefer 'something is raw' by stl from last year...

^^I like "Silent State" but "Something Is Raw" is much more exciting imo.

'something is raw' and 'zeitsprung' are the STL tracks i've enjoyed most but i'm not very sophisticated

Yeah definitely agree with "Something Is Raw" and "Zeitspring". I also really, really like "QRZ", "High Again", "My Home", "Moonlight Reflections", and "Paperboy" amongst others. I guess my assessment of being on the fence about his sound up above was a little harsh. I actually rate quite a few of his tracks.

why doesn't "hauntological" ever get applied to techno and house? to me, it seems like the term would apply to so much of this music that has been coming out over the past couple of years. and isn't detroit the epitome of hauntological? have techno and house recycled themselves enough times for the term to be pointless or is that the very definition of the term?

i am no expert on STL (though i pretty much love everything i've heard), but "silent state" seems to break with his past sound, so maybe that's what all of the fuss is all about?

the NWAQ is orange vinyl!! actually it's some weird color in between orange and red. anyhow, both sides are lovely, and right now i prefer the quince remix of taho on the flip (it self-identifies as dub techno).

"why doesn't "hauntological" ever get applied to techno and house?"

1) Because it's mostly used quite literally to describe tracks which have "ghosting" sampling effects (e.g. sudden literal echoes). When dance music (that you can dance to) does this sort of thing (off the top of my head, "Lunatic Fringe"), it tends to press the ghostliness into the service of the good groove. The stuff that gets written about with the tag tends to make those sampling effects the focus. But if you were going to write about hauntological house and techno, the appropriate starting point probably would be Theo/Moodymann. DJ Sprinkles too actually - "Deep into the bowel of house!"

2) Because the ten or so writers who can use it with a straight face mostly don't listen to current house and techno much.

yeah number two seems to be the operative point here ... If you want to start using "hauntological" with a straight face w/r/t techno and house, uh, more power to you I say

i think the homonym for hauntological in techno and house seems to be "dusty" at the mo

"But if you were going to write about hauntological house and techno, the appropriate starting point probably would be Theo/Moodymann. DJ Sprinkles too actually - "Deep into the bowel of house!""

it also samples "mood" by symbols & instruments in quite a ghostly, maybe even spectral, fashion, like the sample itself haunts the entire track. maybe it was just a good break to use, but with sprinkles i'd be willing to place some bets on the sample itself having some meaning outside of pure sonics. maybe it is simply a nod to being "in the know". that's the one track on that album that i tend to play over and over because it is like cave exploring or something (so many sexual connotations!).

i guess names like "ghost box" give it away, but it seems so literal for a concept that, to me, also seems totally ephemeral. it comes from derrida of all places! maybe that is the hook: it (hauntology) is both literal and ephemeral, sonically and as a critical device.

it seems like there's dusty (and adult-oriented techno and house) and then there's this kind of not-nostalgia running through a lot of contemporary tracks. it could just be the form itself playing tricks on me. or just thinking about it too much.

anyhow, it seems like i am abusing the term compared to how it's traditionally been used.

"moved" - sebo k feat prosumer "stop haunting me...."

^^ haha, which also just got the efdemin treatment.

Tricky, when K-Punk was proposing a book of articles on hauntology, I thought "my article would be on hauntological divas in house" with "Moved" as a starting point"!

But yeah, it's not you who's abusing the concept. The term has been used with astonishing literalness up until now. It's all a bit tell don't show.

I get the way it's been transported over from Derrida and it remains true to that use, but from my perspective quasi-philosophical musical terms owe more to the music than to the philosophy (insofar as you're supposed to learn something about the music through its use in this context, rather than about Derrida). Once you "get" how the term works, describing something as "hauntological" becomes about as clinical and uneventful as identifying a saxophone solo.

why doesn't "hauntological" ever get applied to techno and house?

oh hell no. KIBOSH

only total cunts would EVER think to say "hauntological" about anything, what any utterly empty word

kinda apt then

LESS HAUNTOLOGY

mORE SAX SOLOS

hOUSE MANIFESTO 4 2010

sax solos if they are free jazz-style freakouts. there's a track by sideshow that i have been playing a lot lately called "if alone" (on aus music). it is basically a housed-up take on workhorse dub techno with skippy stabs and paul st hilaire on heavily edited out vocals, but the break is something else: everything collapses and ricochets around off beat and then somehow melts back together into a euphoric second half. it's very satisfying because of the tension between "generic dub techno track ca 2009" and "break from outer space".

when i say "not-nostalgia" above i am referring to how a lot of tracks this year have detroit attached to them, but they are very much products of 2009 in terms of technique, as opposed to waif-y homage. the same kind of thing is happening on the junior boys album w/r/t synth pop. it's like the music is haunted by an earlier incarnation of itself (like all music to some degree), but it's also like something else is struggling to get out and assert itself.

Tracklist for a "detroit-attached" "not nostalgia" mixtape is required before I can say if I understand what you mean

I'm not dissing sax solos by the way.

I like saxophone in house, but more vampy stuff like the sax mix of "A Black Man in Space" rather than, say, Norma Jean Bell's solos.

funny, right at this moment i'm listening to a sax-infused new etienne jaumet track. vahid's manifesto is working. :)

Sax Solos are fine!

Never really come across anyone using the word 'hauntological' - think most people just use the word 'reverb' instead?

i thought 'hauntological' was solely the domain of ballard, pics of disused rowboats on a beach with a grey sky, and burial

If you guys keep it up, you might be able to get me to hate house and techno music.

the masterplan is working ;-)

here ya go vahid. i am adding some meat to my pretentious bones. not all of these are from 2009.

karma - beach towel (i:cube remix)
the detroit experiment - think twice (mark e pressure dub)
soundstream - "live" goes on
martyn - these words
NWAQ - trespassers - redshape remix
agnes and ripperton - deep force
seth troxler - aphrika
even tuell - workshop 07
stimming - fruits of life
mountain people - mountain 005.2
dennis ferrer - son of raw - loco dice remix
omar-s - psychotic photosynthesis

what is this... dissensus?

Quick everyone stop using any words to describe music that Jamiroquai wouldn't use.

If all music critics followed that rule, the world would be a better place (and I might be able to read their shit without vomiting).

anyone know what this track jus ed is playing here?

wow. i wish i knew the one at the end.

Can anyone recommend some decent Jus Ed mixes? I know he's done podcasts for RA and The Bunker.

LOL @ tim setting cock up for the own goal

the track in the jus-ed set just seems like a white label house edit of "sexy mf" by prince. (sorry if that's stating the obvious)

"LOL @ tim setting cock up for the own goal

― moonship journey to baja"

the thing is, he thinks it is funny that i believe that. i don't think it is funny that he considers what he does to be good. really it is just sad. if you want to be poetic and invent words, write poetry. who reads music review for its quality of prose? only fucking retards.

in fact, reading Vince Aletti's columns in the book The Disco Files where his reviews are far more functional descriptions is so refreshing compared to reading "music critic" bullshit.

stop calling people retards

a lot of people find tim to be genuinely funny and interesting, which is more than one can say for you. and it is not because you are an underrated theo parrish type mad genius of lofi slomo thought (though the phrase "dusty cabinets" comes to mind when I read yr posts)

your brain lacks the finesse and charm of most Detroit techno, your posts are like atari teenage riot or something. no, worse.

i mean they have the corny rage of atr and the high noise to signal ratio ... But little of the visceral enjoyment or actual power. you need more wattage, my dear cock.

i'd enroll you in a special school if I could, my dear dim bulb

come on guys! what is this... ilm?

who reads music review for its quality of prose? only fucking retards.

Going to start on that letter-writing campaign to push music writers I enjoy into more useful journalistic endeavors now.

it's not how you say it it's what you say. some of the best reviews are just a mark out of five.

Really liking that CB Funk - Subway to Cologne track right now!

why doesn't "hateological" ever get applied to techno and house?

there, is that better?

"Going to start on that letter-writing campaign to push music writers I enjoy into more useful journalistic endeavors now.

― mh"

i just think there are more interesting things that can be done with music writing than pseudo-prose and the intellectualization of music that has nothing to do with how it was made or the culture it came from. that disco files book was published by the guys who did Last Night A Deejay Saved My Life, another great book that is low on prose and nonsense and high on history, knowledge, and good interpretation. i honestly don't give a fuck about a single music writer, only about the information they can give.

tim f is like the wack white guy who shows up at an inner city poetry slam and doesn't know how trash he is.

if you don't let writers have the open space to flex their ideas, you end up right back at a shitty orthodoxy. at least you have an open forum in which to express your disagreement pipecock.

yo for reals, tim f is the wackness, doggy!

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pipecock needs an inner city poetry slam to express himself freely

come on pipecock!! FFS. tim is one of the most gracious writers here. even if you disagree with him, you have to respect the effort just like you'd expect him to respect your effort.

it's so weird to see anyone trying to pick a fight with tim

It's interesting, I never really considered how online samples/streaming have affected music reviews, as in effect they kind of free writers from the obligation of describing what a record sounds like, which hopeful will open up space for new, interesting writing (which generally speaking is to say not tautological reviews, i.e. a reason to read things beyond what you can hear for yourself most of the time), since the task of the music writer is different today than before.

This doesn't mean, however, that talking about music consists of calling people retarded, or accusations of caucasian, poetry slam related mediocrity.

I think both approaches (i come correct from the streets YO! vs. Academic navel gazing) have their own shortcomings but what I really don't like is the personal attacks. Everyone is better off when there are a variety of opinions and methods. It's pretty fucked up that there are multiple topics on ILM now that have been hijacked and ruined by the ongoing feud with Pipecock. Maybe just say why you like or dislike something and keep the personal attacks for private email/messaging.

"It's interesting, I never really considered how online samples/streaming have affected music reviews, as in effect they kind of free writers from the obligation of describing what a record sounds like, which hopeful will open up space for new, interesting writing (which generally speaking is to say not tautological reviews, i.e. a reason to read things beyond what you can hear for yourself most of the time), since the task of the music writer is different today than before.

― Edward Saroyan"

i find the most use from people who act as known filters. all i need is a short description from someone whose perspective i understand, and not much else. sound samples are great, but there are sound samples from thousands upon thousands of records out there. i feel like too many music writers are just following a consensus instead of trying to create a new one by finding and writing about things that others aren't. how many commentators do we need for mnml techno (or whatever you wanna call that sound in 2009)?

http://www.whatpeopleplay.com/browse/album/?id=11005

not liked sonar kollektiv in a while but I really love about 4 tracks off this comp, the tuff city kids (gerd jansson/philip lauer) mix of roland appel, the mwambé mix of appel, the two banks of four track, and the amazing lost men remix of soulphiction, such a good end of night record.

also the efdemin remix of this is pretty subtle but very good, a bit harder than usual for him I guess.

did we talk about the aus music comp upthread btw? that's really really good. was reminded by the mention of roland appel

oh and tensnake's new one on running back, esp "in the end (i want you to cry)": http://www.whatpeopleplay.com/browse/album/?id=11086

x-post I am never a big fan of Aus Music and co, not since the first few releases. I keep having Larry David moments as a result of this.

not even 'aria'? i hadn't really paid attn to aus music (apart from that) until this comp and it really surprised me with its quality and range - plus, appleblim and ramadanman making a house track!

I liked the v first Lee Jones single I think, and that was about it. It isn't bad stuff or whatever, just not really what I like myself.

new tensnake didn't jump out at me in the same way congolal did, but it's still interesting

pipecock banned. 9 days this time.

really like "aria" and that lost men remix.

running back seems to be on fire, too.

gosh, sometimes i don't understand all the hatred that goes on here...

it's not that complicated

i also think that insulting people and calling everyone 'retards' is dumbo, but at the same time, a discussion about the term 'hauntological'? that is some seriously fucked shit in a thread about house and techno, i think.

"seriously fucked shit" is waaay overstating it. you're not interested? hit the spacebar

didn't you wish death on me about 2 weeks ago table? you can't be that surprised at the hatred I'd hazard...

remember, it's "hateological", not "hauntological"

why is it "seriously fucked shit" table?

I separate my philosophy readings from my techno and house. That's all.

And Ronan, I am sorry I wished death upon you, because you're actually quite a good writer and I find that we agree on musical selection at least 75% of the time. But your championing of subjectivity and 'the genius of the crowd' borders on an active nihilism which scares the bejesus out of me, and also frustrates me deeply.

the reason i asked the hauntological question was because i was confused as to why it was being applied to stuff like dubstep and not techno and house. it seemed like a willful omission on the part of some pretty serious canon building by the group of critics that is using the term.

"willful omission on the part of some pretty serious canon building by the group of critics"

sorry did you lift this from the dictionary definition of the hardcore continuum?

i wish people wouldn't apply it to dubstep either

idk why electronic music attracts critical theory heads so much more than any other genre

i think a more literal reading i.e., "haunted" instead of "hauntological" is better. it's the conclusion we came to upthread as well.

xxp, nope, and i don't pay too much attention to that stuff TBH

the irony of this thread is that one person's insult laden complaints about writers who dissect music too wordily has led to a discussion that is even further from the music, a discussion which that person was extremely keen to engage in.

(@trees: no worries on the deathwish btw...as I said I know I argue with you regularly but it's nothing personal. fwiw I don't think supporting the genius of the crowd is a good summary of my views and I also think most everyone on ILM and everyone I know believes in subjectivity, strongly and passionately, as a for granted)