Gotta agree with you both - it's getting hard to find new releases that
don't sound super slick - techno, house, what have you. Especially anything
tagged tech-house. Blech. I like to hear some intrinsic errors in the music
- it makes it sound like someone is actually behind the work. There are
countless tunes out there that sound so "professional" yet they lack any
sense of a heartbeat. Take just about anything off the Wiggle label, for
example. Everything is too clean and smooth - they compensate with a "phat"
bassline but the real funk is missing. Give me some ruff cut samples ala
Todd Edwards/Todd Terry any old day.
MEK
James Bucknell
<[EMAIL PROTECTED] To: Cyclone Wehner
<[EMAIL PROTECTED]>, 313 Detroit <[email protected]>
com.au> cc:
Subject: Re: (313) Suburban
Knight
02/03/03 11:20 PM
i've always loved house and techno for their minimalism--a few bits of
roland equipment and a four track reel to reel.
i find most contemporary tracks to be as overproduced as any bit of prog.
house/trance. it's a challenge to spend any money when i go record
shopping.
instead, i've taken to re-editing older tracks and saving my money for
final
scratch.
james
>
>> Wibo Lammert:
>>> As to the Mastering: Those first 2 transmats of his sounds like sh*t.
That
>>> Dark Energy doublepack sounds a whole lot better.
>>
>> Gotta disagree wth u for the first time old bean (let's not make a habit
of
>> this ;-) - My opinion is that 'Art of Stalking' along with many other
>> seminal Detroit techno (which implies a particular period) benefitted,
>> purposefully or not, from the ironic lack of the latest technology at
all
>> points of the production process. Those trax sound grimy, glitchy,
scratchy
>> and minimal, sometimes even the sequencing is a bit suspect. But somehow
(I
>> admit, I'm not sure how) often, all those elements came together to form
an
>> unmistable kind of human touch which proved there really was a ghost in
the
>> machine (called soul.)
>> k
>
