Re: (313) carl craig do us a tape
Are you sure that's from 1995? Seems a bit odd that it mentions the Matrix and the new Star Wars films. It must be a bit more recent than that... Brendan On 25/06/07, Guilherme Menegon Arantes [EMAIL PROTECTED] wrote: Hi list, Again out of my dusty boxes with old magazines, found this article in a 1995 edition of Muzik with C2 compiling some interesting bits: http://www.dinamicas.art.br/blog/2007/06/fitinha-do-carl-craig/ Cheers G -- Guilherme Menegon Arantes, PhD São Paulo, Brasil __
Re: (313) Gospel techno?
This is possibly a bit of a tongue in cheek suggestion, but how about Geez'n'Gosh's My Life With Jesus? http://www.discogs.com/release/29670 It fits the description of synthetic sounds with gospel vocals anyway... Brendan On 09/02/07, [EMAIL PROTECTED] [EMAIL PROTECTED] wrote: We all know about gospel house but has anyone ever heard a track that they would say is a mix between gospel and techno? Synthetic sounds with gospel vocals? Examples? MEK
Re: (313) state of the list address
On 10/01/07, David Beattie [EMAIL PROTECTED] wrote: Yeah - welcome everyone, I hope that along with some fresh blood we get some of the old heads who have left over the years (last year particularly). I'm one of the oldsters who's returned, mainly because I heard a rumour that you could now subscribe with a Gmail account. Not sure if you can actually post with one, but I suppose I'm about to find out...! Brendan
Re: (313) Soulseek
Mine is lunar_selector but I'm only sporadically... Brendan On 11/01/07, Nik Stoltzman [EMAIL PROTECTED] wrote: moralcrusader Let me know if you want access and I'll add you to my userlist - my bandwidth is too limited to make it available to all. I tried it once and my internet access vanished :). N I am also to be found in Techno Mixes and Tracks room. Username: [EMAIL PROTECTED] -Oorspronkelijk bericht- Van: Jeffrey Richards [mailto:[EMAIL PROTECTED] Verzonden: donderdag 11 januari 2007 14:19 Aan: 313@hyperreal.org Onderwerp: Re: (313) Soulseek oh...mine is richardsville. I am in the Techno Mixes and Tracks room. --- Jeffrey Richards [EMAIL PROTECTED] wrote: Part of catching up is finding out what everyones soulseek user names are. I figure this has been a thread in the past, so if someone could point me to a thread, that would be great. Thanks Jeff __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com
RE: (313) Main Street records - buy or die?
Agreed - you need to get all the Main Street records, basically. Round Five has a similar feel to a Rhythm Sound track, while Round Four is abstract enough to sound like an M-series release. Round Two is my personal favourite though - it knocks me for six every time I listen to it. Brendan -Original Message- From: Placid [mailto:[EMAIL PROTECTED] Sent: 01 April 2005 13:11 To: fab.; 313 Subject: Re: (313) Main Street records - buy or die? buy them imediately.. i thought it was collaboration between ron trent and moritzio i may be wrong tho... round 2 - new day if you can listen to this without smiling and thinking the world isn't such a bad place then i don't know what will p fab. wrote: Hi listers Hardwax has almost all of the Burial Mix, RhytmSound, Maurizio, Chain Reaction, Basic Channel and Main Street back catalogs in stock i am avid fan of all of the above (almost to the point of religious devotion) but have never heard anything from Main Street - HW describe it as Basic Channel's deep house project, which obviously had me drolling over my keyboard. Can anyone tell me more and recommend me some definitive releases? i need to know if i gotta get a loan for all the things HW has in stock this week! ta, fab. CITYMORB MUSIC www.citymorb.net | [EMAIL PROTECTED] next release: CTM001 Receptor - Moving Head ep.
RE: (313) Aril Brkha At Nuphonic
It used to be the Camden Palace, so it's pretty big and decced out like a ballroom inside. The nearest tube is Mornington Crescent. Should be a laugh to see how this night turns out - I can imagine the venue being quite well suited to an evening of May/Brikha, but have a few misgivings about the walk-past crowd Koko is likely to attract... -Original Message- From: Odeluga, Ken [mailto:[EMAIL PROTECTED] Sent: 31 March 2005 13:56 To: 313@hyperreal.org Subject: (313) Aril Brkha At Nuphonic Derrick May Aril Brikha (live) Richard Fearless Saturday 22 April. KOKO Camden High Street London NW1. 10 PM onwards. I've never heard of this place but I'll be there. k
RE: (313) save me, I think I'm going over to the darkside...
-Original Message- From: Jason Brunton [mailto:[EMAIL PROTECTED] Sent: 24 March 2005 09:36 Rob Hall is a fairly regular visitor to Glasgow and an all round nice guy- usually spends a good day or so going through our racks and listening to new music- his comment on the Iridite tracks..??? Yeah man, they're good but it's just not my sort of thing...too soulfull for me... A friend of mine was once talking to a relatively well-known trance acid techno DJ (well-known in Reading anyway), and when he told her the sort of music he was into, she replied with, so you play that *funky* stuff then?, pronouncing the word funky as though it was a synonym for baby-eating or Hitlerian. It's quite strange to think that, for a lot of people, funk and soul really ought to be purged rather than nurtured. That hi-hat pattern's too funky. Turn off the shuffle etc. Brendan
RE: (313) 3 new 7's
-Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 24 March 2005 12:00 I can't wait to play at a techno club. I wonder when that might be happening? ;) Brendan
RE: (313) re: SPAM-LOW: (313) free Magazine FACT...
Here it is: http://www.chromedecay.org/rob/ -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 21 March 2005 15:14 wonder what rob is up to, anyway. he was funny! he's got a blog I think. dunno where mind.
RE: (313) Rob Hood - Sleepcycles
That track ended up coming out on the Minimal Nation M-Plant repress: http://www.discogs.com/release/7000 Really nice track, that one! Brendan -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 16 March 2005 14:30 To: 313@hyperreal.org Subject: (313) Rob Hood - Sleepcycles Hmm. In my own little world today. I remember when I was a mere cheeky young scamp, and one day Rob Hood played at Swankys Soap in Manchester. He played a nice sounding record. I wandered up to the box. Kinda knew him to talk to at the time Hi Rob I said, in a polite voice. What's this record please? It's called 'Sleepcycles' young man he said. It's on axis, but I'm not sure if Jeff will ever put it out Did this record ever come out? It was real nice minimal rob hood gear destined for axis apparently. And while I'm on the subject where the bloody hell is the freaky deaky thing on mahogani, Kamal - did you ever get a cd of it at all? I need that as well. Ta Alex
RE: (313) Carl Craig '
I'd rather go out to hear good tunes than good mixing myself - the performance isn't any more valid or enjoyable for me even if the performer has to go through an unnecessarily arduous process in order to send music out through the speakers. Then again, someone trying to generate Basic Channel-style techno using nothing but a swanny whistle and a tin can would make for a pretty interesting set... :) Brendan -Original Message- From: Placid [mailto:[EMAIL PROTECTED] Sent: 14 March 2005 11:50 To: [EMAIL PROTECTED] Cc: 313@hyperreal.org Subject: Re: (313) Carl Craig ' whats the difference P? same shizz coming out the speakers no? very true, but i like to see people mix with records and decks so i can listen to their style, see if theres bits , tricks which sound good that i can incorporate into my mixes.if i hear a record i like and i see its on a slab of vinyl, chances are it's either out or going to be released. i am old fashioned but i like to see em working for their money...sweating behind the decks, etc... p _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers LLP. PricewaterhouseCoopers LLP may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring.
RE: (313) what's the story with 11th hour event at public life?
Hi Aidan, It's a Flashpoint night at Public Life on Saturday March 26th - Dublin's D1/D1aspora collective are playing at the night along with the residents (Matt Chester, Guy Thackeray and myself). There'll be a live PA from Americhord, with DJ sets from David Donohue and Eamonn Doyle, and it should continue until around 3am on Easter Sunday... Cheers, Brendan -Original Message- From: Aidan O'Doherty [mailto:[EMAIL PROTECTED] Sent: 11 March 2005 14:33 To: 313@hyperreal.org Subject: (313) what's the story with 11th hour event at public life? who's playing at this london gig on march 27, does anyone know? thanks, aidan mostly listening to: adam beyer 'nanobot' electronome 'influence' pollon 'lonely planet' duplex ep5 frantic flowers 1
RE: (313) talking heads + omar s mix
I'd also recommend the Stop Making Sense DVD as a great introduction to Talking Heads - I saw that for the first time fairly recently and was blown away... Brendan -Original Message- From: Ian Malbon [mailto:[EMAIL PROTECTED] Sent: 11 March 2005 15:41 To: dinamica Cc: 313@hyperreal.org Subject: Re: (313) talking heads + omar s mix On Mar 11, 2005, at 6:23 AM, dinamica wrote: If CC likes it, I assume TH might have some other nice songs... So, can you recommend TH material in the more electronic side? All the TH albums are worthwhile, if not necessarily electronic. I'd agree with Alex that Eno/Byrne's My life in the Bush of Ghosts has some very tasty tracks. AND if you like that release you owe it to yourself to find a copy of Byrne's The Catherine Wheel. It was the score that Byrne composed for a Twyla Tharp dance piece. Dead funky. -- Ian
(313) [London] Flashpoint presents Headspace - this Saturday
This Saturday, 19th February, we're proud to be inviting Headspace Recordings down to Public Life in east London. Here are the details: Vince Watson (live) (Headspace, Transmat, F-Com, Bio, Rotation, Ibadan) Arne Weinberg (Headspace, 11th Hour, Matrix, Down Low, Keynote, Starbaby) Tom Churchill (Headspace, Emoticon, Nordic Trax, DiY Discs) plus Flashpoint residents Guy Thackeray (Non Stop DJs) Brendan Nelson (Non Stop DJs) Matt Chester (11th Hour) Visuals by circuit_c @ Public Life, 82a Commercial St, London EC1 Saturday 9th February 9pm - late nearest tube Liverpool St / Aldgate East directions - http://tinyurl.com/5v9tq And a bit of background information: Headspace Recordings was founded in Cardiff by Tom Churchill and Raeph Powell in 1996, and has been described in DJ magazine as 'one of the world's finest deep techno outlets'. Based in Glasgow since 2002, its past releases have featured tracks and mixes from artists such as Fabrice Lig, Arne Weinberg, Derek Carr, Rei Loci, CiM, Aubrey, Funk D'Void and Morgan Geist. Headspace's sister label, Emoticon, was launched in 2001 to focus on soulful techno, broken beats and abstract electronica, and releases to date have featured artists such as Russ Gabriel, Yotoko, Future Beat Alliance, Total Science and Jeff Samuel. Headspace will be celebrating its 17th release in April with its first artist album, courtesy of Scottish techno stalwart Vince Watson. Vince must be one of the hardest-working producers in the country at the moment, with releases out now or coming soon on his own Bio Music label, F Communications and the mighty Transmat, to name but three, while his punishing DJ and live schedule sees him play his music across the world every weekend. 'Sublimina' is his second full-length album - following 'Moments In Time' on Ibadan - and features 15 tracks of deep and soulful machine music, from shimmering dancefloor tracks to more reflective grooves, all laced with Vince's distinctive ear for melancholy harmony and intricate rhythm. This will be followed in the summer by a special 12 containing more dancefloor-oriented reworkings of some the album's key tracks. In September 2005 Headspace will releasing a brand new album from legendary US techno producer Dan Curtin, as well as the debut 12 from Dublin resident (and Scot in exile) Dave Anderson - one half of the Otomi project on Headspace's sister label Emoticon. And this summer will also see the return of label founder Tom Churchill with a brand new EP of techno/house cuts after a break of over three years. Resident DJ at the city's renowned Traxx events, Tom has been spinning for ten years, and has taken his finely-honed style of techno and house to clubs and parties over the planet, while still finding time to run Headspace and Emoticon and produce the occasional record for labels such as DiY and Nordic Trax. Joining Vince and Tom at Flashpoint will be Germany's Arne Weinberg, who over the past five years has established himself as one of Europe's leading deep techno producers, with acclaimed appearances on labels including Headspace, 11th Hour, Down Low, Technoir, Keynote and Pseudo. Arne spins regularly all over Europe, rocking crowds with his unique blend of deep and soulful techno, and will no doubt have the Flashpoint crowd dancing on the tables once again... Vince, Arne Tom will be ably assisted by the Flashpoint residents, Guy Thackeray, Matt Chester and Brendan Nelson; and visual action will once more be taken care of by Circuit_C. Flashpoint will then return on Saturday 26th March with a special D1 Recordings party, featuring the cream of the Dublin based labels talent more details to follow shortly...
(313) Europe (was RE: (313) Radio Fries...)
-Original Message- From: Tosh Cooey [mailto:[EMAIL PROTECTED] Sent: 09 February 2005 17:23 Now this is something that bugs me. Some Europeans will often say America has no culture. I don't think you'll find any Europeans on this list who would often say that, this being a mailing list about music that sprang from a city in America. There probably isn't much ground for that sort of Europe vs USA debate here. It's certainly the case that mainstream media in America is far more commercially-oriented than it is culturally-oriented, but that's becoming the case in Europe as well as the media here becomes more - well - Americanised... Brendan
(313) Oakenfold (was RE: (313) Secret Life Of Trance)
It's a rave classic!! ;) I have to admit, though, that I do have a soft spot for his remix of Acid Over... Brendan -Original Message- From: Paul Kendrick [mailto:[EMAIL PROTECTED] Sent: 28 January 2005 11:39 To: Hardie, Nick; Martin Dust Cc: 313@hyperreal.org Subject: RE: (313) No Movement 2005?/Secret Life Of Trance He hasn't made any good music, I bet you like to Big brother title tune as well Martin ;-) Martin Dust wrote: Some of his early work is very good, yeah, then he want trance...
RE: (313) No Movement 2005?
And, of course, a whole load of brilliant records released on Trance Fusion... http://www.discogs.com/label/Trance+Fusion -Original Message- From: M : A : T : R : I : X [mailto:[EMAIL PROTECTED] Sent: 28 January 2005 13:50 To: Blaauw, Martijn de Cc: 313@hyperreal.org Subject: Re: (313) No Movement 2005? and theres the incredile: Trance Atlantic compilations featuring tons of Detroit and Chicago artists and a couple of New Yorkers thrown in for good measure :) on 1/28/05 8:30 AM, Blaauw, Martijn de at [EMAIL PROTECTED] uttered these words: Funny, last night i just dug out my copy of the 'Trance Europe Express' (vol.1) series with Sabres of Paradise, The Orb, Aphex Twin, DIY, Moody Boyz..very old school and very technotrance...back then to me this was just good music, nowadays it's to ' dangerous' to even mention the title -Oorspronkelijk bericht- Van: Matt Kane's Brain [mailto:[EMAIL PROTECTED] Verzonden: vrijdag 28 januari 2005 14:19 Aan: Hans Veneman CC: 313@hyperreal.org; [EMAIL PROTECTED]; M : A : T : R : I : X Onderwerp: Re: (313) No Movement 2005? there is a compilation of detroit releases called Deep Detroit Vol 1: Techno-Soul (there was never a vol 2) released on Pow-wow Trance. http://www.discogs.com/release/98409 On Jan 28, 2005, at 7:55, Hans Veneman wrote: On Fri, Jan 28, 2005 at 07:49:11AM -0500, [EMAIL PROTECTED] wrote: I have quite a few old EPs that have tranctastic mixes on them. Alot of the Definitive records that I have, have some sort of trance version of the tune... Didn't Submerge label the Red Planet releases as Trance years ago? Cheers, Hans On Fri, 28 Jan 2005, M : A : T : R : I : X wrote: look at all of us trance lovers coming out of the closet! :^) on 1/28/05 6:40 AM, fab. at [EMAIL PROTECTED] uttered these words: i have this compilation as well and it is a damn fine one if i may say so. goes back to the time when there wasnt much of a difference between trance and techno, when trance wasnt a dirty word. hell, there are even UR tracks that i call 'trance'... what went wrong? i dont know..marketing maybe wanted to divide the 2. or maybe trance appealed to ppl that didnt enjoy technoor, maybe it was the drugs. trance was intended for ppl to space out to and evade into utopian dreams of universal love etc while techno developed into a more of a dystopian urban and post-industrial aesthetic. just off the top of my head, fab - Original Message - From: M : A : T : R : I : X [EMAIL PROTECTED] To: [EMAIL PROTECTED]; 313@hyperreal.org Sent: Friday, January 28, 2005 12:14 PM Subject: Re: (313) No Movement 2005? oh wait...are we 313ers still supposed to hate Trance? oops! I forgot that trance was supposed to be taboo. a few weeks ago I was at a Dollar Store and as I was checking out there was a CD display near the register. as I spun through the terrible selection I came across a double CD compilation on Rising High Records called The Secret Life of Trance. it included tracks by Timo Mass and Jam Spoon and it was only one dollar...so I bought it. I figured it would be good for a laugh or two. so while cleaning house the other day I decided to put it on and give it a listen before throwing it away, but ended up listening to it straight through. it's actually quite good! (?) I apologize, guys. it was an accident and it only happened once. I swear! I feel so dirty. but at least it wasnt electro clash! :) oh and regarding movement: maybe it's time to take it off of life support? it's already made history and has it's place in our hearts forever. why not just let it go? Keeping a version of it alive artificially or in an altered form would do nothing but tarnish the fond memories of what it once was. Have you ever had your favorite danceclub/party/event outlive it's natural lifespan? it gets pretty sad at the end. examples: Lollaplooza? Motor Lounge? The Limelight? Ministry Of Sound? DEMF: Do Not Resuscitate I have nothing against the DEMF/Movement festival or it's organizers. I performed at the very first (where I was paid quite handsomely) and what may turn out to be the very last one (where I performed for absolutely free) and would gladly do it again if they needed me to, but if the only way to keep it going is to make it an Area One monster rock show, then it's time to let it rest in peace and take it's rightful place as a part of the history of Detroit Techno. sean deason on 1/27/05 9:14 PM, Anton Banks (313) at [EMAIL PROTECTED] uttered these words: and a trendy headliner would be good too. I can see it now- Now playing on the trance stage... said with
RE: (313) No Movement 2005?
I'd suggest Hardtrance Acperience by Hardfloor as the first record that made some producers think, I've got to have that sort of snare roll in every track I make! I'm sure it wasn't the first track to employ that sort of technique, but it really did put the big-breakdown'n'snare- roll on the map, and by the time of tracks like Access and Higher State Of Consciousness hit, the divide was clearly established. Soon after that you started getting subgenres of trance, and by that time the rift between trance and techno was irreparable. Robotman's Do Da Do had a huge Hardfloor-style breakdown and buildup in it, come to think of it. But that was after Hardtrance Acperience IIRC... Brendan (aka the Friday afternoon snare roll historian) p.s. they're playing Rez by Underworld here in the office right now, appropriately enough... -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 28 January 2005 15:34 To: M : A : T : R : I : X Cc: 313@hyperreal.org; [EMAIL PROTECTED] Subject: Re: (313) No Movement 2005? I'll readily admit that I like trance music - of the variety that came out on the Volume compilation sets. There are quite a few Detroit artists on those. Check out these track listings: http://www.discogs.com/release/88553 http://www.discogs.com/release/69311 http://www.discogs.com/release/17822 http://www.discogs.com/release/17824 http://www.discogs.com/release/17825 http://www.discogs.com/release/17826 but this is trance before the Great Divide that got its start in the early 90s and by 94-95 was well on its way to pushing trance and techno apart. I'd like to know - what was the first Trance record that put the massive build-ups and breakdowns on their way to the history books of dance music? I know Richie Hawtin and Speedy J were lumped in the trance music very early on - I'd say that they are two of the only producers that most techno and trance fans can agree on. They sure knew how to abuse the 808/909 drum rolls as well. Everyone goes on about Oakenfold but i put more blame on Paul Van Dyk and Sven Väth and what was going on in Germany and Goa, India for the way that trance became progressive house/trance. MEK M : A : T : R : I : X [EMAIL PROTECTED] To .com [EMAIL PROTECTED], 313@hyperreal.org 01/28/05 05:14 AM cc Subject Re: (313) No Movement 2005? oh wait...are we 313ers still supposed to hate Trance? oops! I forgot that trance was supposed to be taboo. a few weeks ago I was at a Dollar Store and as I was checking out there was a CD display near the register. as I spun through the terrible selection I came across a double CD compilation on Rising High Records called The Secret Life of Trance. it included tracks by Timo Mass and Jam Spoon and it was only one dollar...so I bought it. I figured it would be good for a laugh or two. so while cleaning house the other day I decided to put it on and give it a listen before throwing it away, but ended up listening to it straight through. it's actually quite good! (?) I apologize, guys. it was an accident and it only happened once. I swear! I feel so dirty. but at least it wasnt electro clash! :) oh and regarding movement: maybe it's time to take it off of life support? it's already made history and has it's place in our hearts forever. why not just let it go? Keeping a version of it alive artificially or in an altered form would do nothing but tarnish the fond memories of what it once was. Have you ever had your favorite danceclub/party/event outlive it's natural lifespan? it gets pretty sad at the end. examples: Lollaplooza? Motor Lounge? The Limelight? Ministry Of Sound? DEMF: Do Not Resuscitate I have nothing against the DEMF/Movement festival or it's organizers. I performed at the
RE: (313) re: something to think about
It's a bit of an epic thread, but the Ableton part of the discussion gets going here: http://www.littledetroit.net/forums/viewtopic.php?t=7091postorder=ascstart=137 Brendan -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 24 January 2005 16:19 To: robin Cc: 313@hyperreal.org; Stoddard, Kamal Subject: Re: (313) re: something to think about Can someone point me directly to that LD thread please? MEK
RE: (313) Infiniti Collaborations
I'd suggest getting Juan back in the studio with Moritz. If that collaboration was revisited, it might be pretty interesting these days - techno-influenced dub rather than the dub-influenced techno of the Starlight era. Alternatively, a collaboration between Juan Atkins and Mr De might result in 2005's equivalent of Cosmic Raindance, which I still think was ridiculously ahead of its time: more so that Clear or Alleys Of Your Mind, IMHO... Brendan -Original Message- From: Odeluga, Ken [mailto:[EMAIL PROTECTED] Sent: 20 January 2005 09:39 To: 313@hyperreal.org Subject: (313) Infiniti Collaborations So, it sounds like Juan Atkins is in the mood to collaborate again - this time with Pacou, it's been said here recently. Maybe you all might like to join me in a bit of pointless fun and say who *you'd* most like to see Atkins do a project with. Try and say why, but it can be as plausible or as implausible as you like. For me, I will say Farben (Jan Jelinek). To me, it's quite possible given Juan played a one-off a gig with him in London a couple of years back. It would be good because it would plug Detroit in with some interesting (and 'trendy') minimalism/clicks 'n' cuts. What about you? k
(313) [London] Fabrice Lig this Saturday
Just a quick reminder to UK-based 313ers that Fabrice Lig will be appearing at Public Life in Whitechapel tomorrow night, Saturday 15th January. Here's the blurb: FLASHPOINT presents FABRICE LIG (Raygun, F-Com, 7th City, KMS, Kanzleramt, Playhouse, Starbaby, Keynote) a.k.a. Soul Designer, Bug Orchestra, Mauler, Deep Forces, RSP, South Union plus Flashpoint residents Guy Thackeray (Non Stop DJs) Brendan Nelson (Non Stop DJs) Matt Chester (11th Hour) Visuals by circuit_c Saturday 15th January 2005, 9pm-3am @ Public Life, 82a Commercial St, London EC1 nearest tube Liverpool St / Aldgate East directions - http://tinyurl.com/5v9tq 9pm - 3am, £5 entrance www.fabricelig.com www.flashpointclub.com Contact me offlist if you need any further info! Brendan
RE: (313) Father Loves Us _BMB
Annoyingly, the Worldpay server is moving at a snail-like pace - I guess it's being swamped with orders for the new BMB record... Brendan -Original Message- From: Martin Dust [mailto:[EMAIL PROTECTED] Sent: 11 January 2005 08:33 To: '313' (E-mail) Subject: Re: (313) Father Loves Us _BMB You should hear the full track, loaded with brummy dark mind funk - brilliant track. Martin On 11 Jan 2005, at 00:42, [EMAIL PROTECTED] wrote: Cheers Martin, The electro cut on the B side is really NICE! Dns. On Mon, 10 Jan 2005, Martin Dust wrote: Limited version, 300 http://www.dj-surgeon.com/store/
RE: (313) Energy Flash by Simon Reynolds
-Original Message- From: matt kane's brain [mailto:[EMAIL PROTECTED] Sent: 05 January 2005 16:33 At 11:31 AM 1/5/2005, [EMAIL PROTECTED] wrote: In Simpsons comic book guy voice: Worst... music 'criticism'... ever... What's sad is how many of friends consider Reynolds (and guys like pitchfork) inspiration/hero/grand influence/whatever. I think there's a place in the world for Simon Reynolds, but like most music journalists, he's essentially making a career out of sniping from the sidelines, and someone who does that for a living can only be seen as an inspiration by people who aspire to that sort of position. I have to admit, I often prefer to read opinions (on music as well as other subjects) that conflict with my own; even though I'd ideally prefer these opinions to be better articulated than Simon Reynolds' often are! Brendan
RE: (313) Where's Alex?
He's not on 313 any more... -Original Message- From: Martin Dust [mailto:[EMAIL PROTECTED] Sent: 21 December 2004 15:06 To: 313@hyperreal.org Subject: (313) Where's Alex? Where's the pikey one gone? Anyone know? Martin
RE: (313) A possible reason for so much off-topic...
I don't think that a discussion about whether vocals add to or detract from a house/techno track is a brilliant example of something that's phenomenally off-topic. Especially when it's specifically referring to What Happened?, which is undeniably a 313 track. The thing here is that everyone has an idea in their heads of what they'd ideally like to see discussed on 313, and these ideas differ from person to person. Everyone, I'm sure, has a few minor gripes (I'm not a huge fan of the ongoing KDJ/Theo discussions either) but probably thinks they're the only one who does. And every now and again these gripes spill out into a bit of a moan, in which some people will point the finger at other subscribers while other people will look for more exogenuous reasons for the problem (such as Tosh's question about the amount of 313 techno that's actually being released these days). Ultimately, the only statement I'd agree with absolutely is, if there are things you'd like to see discussed more often on 313, then start discussions about them. Brendan -Original Message- From: Renegade808 [mailto:[EMAIL PROTECTED] Sent: 10 December 2004 12:41 To: [EMAIL PROTECTED] Cc: 313@hyperreal.org Subject: Re: (313) A possible reason for so much off-topic... Alex I was not really refering to you when taking about cool guy records or anyone in particular but hey if the shoe fits wear it..i was GENERALLY talking about the list discussions overall.i am just pointing out something that happens over and over (as in kdj threads).it just seems like many things get talked about repeatedly.i just figured people would catch on and kinda be like hey we have already covered this like 50 times lets move on.. the things i WAS refering to you about were some of the dumb ass threads you start (in my opinion)not all of them are dumb , but some are VERY off topic.and i am not saying it is just you, but since you seem to have a problem with me and the things i post, than i will direct this at you i guessi aint saying you cant post whatever you want but manif your bored at work please keep from junking up my mailbox and others with dumb threads about how people who talk over records should be poked in the eye or whatever you feel like talking about on a monday morning. half of the time i post its just my thoughts or opinions on whatever it is we are talking abouti am not trying to be the correct one or the 313 leader... just sharing my thoughts which is what i thought this list is about so unless i say something directly to you alex than quit jumping down my throat any time i say something. and if your wondering why it is i lurk most of the time and don't participate well this should be a good indication as to why.attitude all over this listand yea including mine i am not moaning at all, just pointing out a few things...sorry if you don't like italex michael www.renegaderhythms.com Mike. Try bringing up this talk yourself instead of waiting for others to do it, and then sitting there moaning about it when no one else does it. And regards cool guy records. I'm talking about the s**t I can come across from, you know, the local record shop - no where else. Besides, I always thought peeps might want to know about the new bits - I do in reverse, the bits I dont have then I can make a note to look for. Moan moan moan moan, And then do nothing about it. Good one. _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers LLP. PricewaterhouseCoopers LLP may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring.
(313) Ableton control (was RE: (313) Sasha)
What I reckon would sort me out is one of those tablet PCs with the touch screens - particularly the ones that are made with heavy rubber padding around them to make them robust and resilient. That way you could just lay the screen part of the laptop flat out in front of you, and control it by touching the screen. In Ableton that would work really well, I reckon; just put your finger on one of the faders, move it up down, then grab the crossfader and wiggle it about. Because it doesn't use right mouse buttons I don't think there'd be any real problems with using it through a touch-screen interface. From the point of view of the audience, it wouldn't be a hell of a lot different from watching someone work a turntable; one of the big problems with laptop performances is that the screen is positioned like a barrier between the artist and the crowd. Lay the screen out flat in front of the artist and it might as well be a 1200 for all the audience care. The drawback is that you couldn't do more than one thing at once - if that got sorted, though, and you had the equivalent of four mouse pointers running at once, that'd be a pretty good way of controlling Ableton. Chuck away the mouse and all your MIDI peripherals and just use the screen itself as the virtual mixer... Brendan -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 03 December 2004 15:38 To: 313@hyperreal.org Subject: Re: (313) Sasha Alex, are you assigning things to laptop keys as well? I am indeed David. Personally, I wish I could just highlight a channel without using the mouse, so I could see which effects are on or off before I bring in a new clip on the channel. You can! (I think - if I understand you correctly) you can assign it to the keys. I have my channels on the keyboard on the qwerty line... e.g. press Q and the channel is highlighted and you can see what effects are on or off. ta alex _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers LLP. PricewaterhouseCoopers LLP may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring.
RE: (313) Ableton control (was RE: (313) Sasha)
I had a play with one of the Fujitsu prototypes just before it came out, and when it detected your finger near the screen a mouse pointer would appear - I didn't get to try Ableton on it, but had assumed that that would help deal with its fairly small interface elements. A nice pair of white gloves would deal with the sweaty- fingertip issue too... :) Brendan -Original Message- From: Martin Dust [mailto:[EMAIL PROTECTED] Sent: 03 December 2004 15:50 To: Brendan Nelson Cc: 313@hyperreal.org Subject: Re: (313) Ableton control (was RE: (313) Sasha) We have one of these B (it's a converted pub quiz machine), it doesn't like sweaty fingertips for a start and Ableton's screen detail is way to small for it to handle it properly. Still it would be fun turning you with two of them. Martin On 3 Dec 2004, at 15:41, Brendan Nelson wrote: What I reckon would sort me out is one of those tablet PCs with the touch screens - particularly the ones that are made with heavy rubber padding around them to make them robust and resilient. That way you could just lay the screen part of the laptop flat out in front of you, and control it by touching the screen. In Ableton that would work really well, I reckon; just put your finger on one of the faders, move it up down, then grab the crossfader and wiggle it about. Because it doesn't use right mouse buttons I don't think there'd be any real problems with using it through a touch-screen interface. From the point of view of the audience, it wouldn't be a hell of a lot different from watching someone work a turntable; one of the big problems with laptop performances is that the screen is positioned like a barrier between the artist and the crowd. Lay the screen out flat in front of the artist and it might as well be a 1200 for all the audience care. The drawback is that you couldn't do more than one thing at once - if that got sorted, though, and you had the equivalent of four mouse pointers running at once, that'd be a pretty good way of controlling Ableton. Chuck away the mouse and all your MIDI peripherals and just use the screen itself as the virtual mixer...
RE: (313) Wednesday
We can't have a proper barney about a record so few people have heard yet. So, I suggest that Planet E send every notoriously tetchy 313er a copy so we can all check it out and then argue about it online. Brendan Anyone who dislikes this record should be shot Nelson -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 18 November 2004 16:37 To: 313@hyperreal.org Subject: Re: (313) Wednesday i think the record overall is nice, but not spectacular. lets have a row about it. it's been a while since we had a good ol' barney here. this record is double spectacular, seriously. it's very very very deep. Like Basic Channel or Nwaq by Carl Craig. I think your taste, 'junior boy', SUCKS. ; ) _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers LLP. PricewaterhouseCoopers LLP may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring.
(313) [London spam] Iridite Showcase this Saturday
Sorry for the UK-specific spam, but as the Iridite releases have received a lot of positive coverage from various 313ers, there may be a few subscribers who'd be interested in this... Flashpoint presents - Iridite Showcase - Saturday 20th November www.iridite.com www.flashpointclub.com Featuring: Rei Loci (Iridite, 7th Sign, Headspace, Down Low) - Live PA Jason Brunton (Iridite, Down Low, Soma, 20:20 Vision) - DJ set Elijah (Iridite, Traxx) - DJ set plus residents: Matt Chester (11th Hour) Brendan Nelson (Non Stop DJs) Guy Thackeray (Non Stop DJs) @ Public Life, 82a Commercial Street, London EC1 nearest tube Liverpool St / Aldgate East directions - http://tinyurl.com/5v9tq 9pm - 3am Entry £5 For more details, or for paying guest list spaces, email me offlist! Here's the blurb: Following on from the huge success of our recent opening night featuring Pittsburgh's Shawn Rudiman, Flashpoint is very pleased to announce the next event, showcasing Glasgow's superb deep techno label, Iridite. Conceived in the summer of 1999 by Jason Brunton and Rei Loci, Iridite has swiftly become one of the most critically acclaimed of a new wave of labels which have brought the focus in techno back to futurism, soul, depth and funk - away from the generic loopiness of the late 90s. Created as a platform for local talent both established and new, the label has followed a policy not of genre but of quality, releasing compilation EPs with tracks ranging from dub and experimental through electro to Detroit techno. These cuts instantly struck a chord with the techno world, being played and supported by the likes of Fabrice Lig, Laurent Garnier, DJ3000, Buzz Goree, Claude Young, Dan Curtin, Steffan Robbers, Titonton Duvante, Shawn Rudiman, Dan Bell, Anthony Shakir, Orlando Voorn, Arne Weinberg and many more! Having released four EPs since inception, as well as one for fellow deep techno specialists Down Low, they are now preparing for their imminent fifth release, which also sees them as one of the first UK labels to be accepted under the wing of the legendary Detroit techno distributors, Submerge. Presenting the labels talent will be founder member Jason Brunton, who has also appeared alongside Hutton Drive for Soma and 20:20 Vision and remixed on Laws of Motion and Fenetik - but is most renowned for his work on Iridite, including the stunning 'Track Title 2' on Iridite 002, which received huge acclaim from DJs and music lovers worldwide, and was licensed to a Claude Young compilation amongst others. By his side will be Rei Loci (who also produces with Jason as Methodology), performing his debut London live set. Famed for his quirky yet exceptional funky releases both on Iridite and fellow Glasgow imprints Headspace and Seventh Sign, we have been warned to expect something very special from him as he returns from over a years hiatus to unleash a brand new live workout upon us! Jason and Rei will also be joined by Elijah aka Laurence Hughes, one of Glasgow's finest DJs and a resident at Traxx alongside Tom Churchill (Headspace) and Jamie Thomson (Nurture). (For full artist profiles and more info, please visit www.iridite.com) Once again these three will be backed up by the fine Flashpoint residents, Brendan Nelson Guy Thackeray (Non Stop DJs), and Matt Chester (11th Hour Recordings).
RE: (313) Ableton Live / Computer Help
Hmmm... if Alex already has all the meta-files (the .asd ones with the same names as the .wav files), then that's not an issue. I recently had the demo of Ableton 4 and was using my WAV collection with no problems. (I bought it after ten minutes - it's a huge leap forward from 3. But wasn't so pricey for me as I was just upgrading) However, if you're planning to warp new WAVs and save the meta-files using the demo version then you might be on shaky ground. I don't think I've warped WAV files in demo versions of Ableton before. The main thing is that you don't need to save Ableton files (the .als ones) to preserve the warping information for WAVs. Warping information for WAVs is contained in the .asd files, which can be read by any version of Ableton, whether 3 or 4. Alex, do you already have all the WAVs that you're going to use in your set? Brendan -Original Message- From: Martin Dust [mailto:[EMAIL PROTECTED] Sent: 12 November 2004 14:01 To: [EMAIL PROTECTED] Cc: 313@hyperreal.org Subject: Re: (313) Ableton Live / Computer Help ermmm NO - because you can't like save - unless you are planning to turn up early and beat match and set your settell me if you are Alex I'd like to watch On 12 Nov 2004, at 13:56, [EMAIL PROTECTED] wrote: Hi Folks. Sorry to ask this here. I honestly don't know who else to ask. And you're a very knowledgeable bunch. So, first off a confession. (I don't feel good about this btw, I know it's wrong) I have been using a copy of Ableton Live for the past 6 months. Let me just defend myself. A friend gave me a copy, basically a try before you buy type deal as I was getting my new computer soon, and didn't want to have to buy another copy. Obviously I've got right into it. My new computer has arrived, and I'm keeping it just for music, can't put it on the internet cos I dont what I'm doing and I'll probably get a virus or something. I'm transferring my 300 odd WAV files over. I went to the music shop the other day to talk to the guy about buying Ableton 4. £269.99! I don't mind paying it at all, it's just I simply don't have it at the minute. I'm going to sell records at the end of the month and put some towards it out of my wages. Basically, I have 2 gigs I'd like to use it for before I get paid. The guy in the shop gave me a demo disc, and this version allows you to do most things, but not save anything. I don't really need to save anything. Do you think I'll be OK to use the demo version for a gig? Is that wise do you think? Will it crash or something? Is there any other way round it?I won't need to save anything for the gig I wouldn't have thought would I? I tend to do most things 'on the fly' with it anyway. What do you think? Any help and advice would be much appreciated. Alex _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers LLP. PricewaterhouseCoopers LLP may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring.
RE: (313) Ableton Live / Computer Help
-Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 12 November 2004 14:10 So, what would I need to save I guess is my question? Apart from when I use it to do re-edits or new tracks, the only times I save things in Ableton is when I want to set up a blank screen which has loads of keyboard and MIDI shortcuts programmed into it. I won't go into depth about how I've got it set up, but pretty much every key on the keyboard has some sort of function (unmute Send 1, play clip B3, etc etc) so that it can be controlled without using the mouse. But a lot of the time I just start with a blank screen myself and just set that stuff up as I go. You *can* use it with files you've already marked/warped up, so no worries there! It *might* be tricky if you want to mark/warp new files with that demo version, but if all your tracks are already done then I reckon you'll be OK. Brendan
RE: (313) These Go up to 11
I second Matt's choice of New Day by Round Two. I had that on loud the other day, and that key change roughly halfway through, just before the we got a new day line, sent shivers up my spine the like of which I haven't felt since... A few weeks ago I was round at someone's house and New Day came on. Someone remarked that they didn't know what all the fuss was about with New Day. I had to resist the strong urge to shout Out! and shove them out on to the street :) Also, there's Scorpio by Grandmaster Flash and the Furious Five. A track that sounds like it was created in a semi-legal funk research laboratory, way ahead of its time and devastating when loud. My third play loud selection is track B1 on Robert Hood's Protein Valve EP, which sounds like something that might have been dropped from Minimal Nation at the last minute because it was simply too rude. Hood in full combative mode. The final one is the vastly underrated Explain the Style, also by Robert Hood and on the Vision EP on Metroplex. Everyone goes for Detroit: One Circle or Spectral Nomad, but to me it's the A2 cut that's the most devastating when played at a hefty volume. I've never actually heard this deployed to full effect in a club before, which is lucky as I'd probably experience a red-out if I did... Brendan -Original Message- From: neil tomlinson [mailto:[EMAIL PROTECTED] Sent: 11 November 2004 16:33 To: [EMAIL PROTECTED]; 313@hyperreal.org Subject: Re: (313) These Go up to 11 Timo mass - manga Teste - the wipe Mag north - graphite Any BC or chain reaction.. -Original Message- From: J.T. [mailto:[EMAIL PROTECTED] Sent: 11 November 2004 15:31 To: 313@hyperreal.org Subject: Re: (313) These Go up to 11 yeah ok i'll play drexciya - living on the edge morgan geist - current fix - flash not really a top 3 (what is it? never get old tracks?), just 3 that popped in -- --
(313) Scorpio (was RE: (313) These Go up to 11)
-Original Message- From: Thomas D. Cox, Jr. [mailto:[EMAIL PROTECTED] Sent: 11 November 2004 19:23 Also, there's Scorpio by Grandmaster Flash and the Furious Five. A track that sounds like it was created in a semi-legal funk research laboratory, way ahead of its time and devastating when loud. that track is so excellent. did it ever come out on 12? This is the piece of vinyl you want... http://www.discogs.com/release/125360 Strange to think that the A side track is so much more high- profile than Scorpio - it's pretty overrated, in my opinion. Brendan
RE: (313) These Go up to 11
-Original Message- From: Tristan Watkins [mailto:[EMAIL PROTECTED] Sent: 11 November 2004 20:01 -Original Message- From: Brendan Nelson [mailto:[EMAIL PROTECTED] Sent: 11 November 2004 16:40 To: 313@hyperreal.org Subject: RE: (313) These Go up to 11 The final one is the vastly underrated Explain the Style, also by Robert Hood and on the Vision EP on Metroplex. Everyone goes for Detroit: One Circle or Spectral Nomad, but to me it's the A2 cut that's the most devastating when played at a hefty volume. I've never actually heard this deployed to full effect in a club before, which is lucky as I'd probably experience a red-out if I did... Do you really think it's that much different than Detroit: One Circle? I always used to play Explain the Style but then switched to the other - not entirely sure why. What's the big difference? Not sure that my copy is around and certainly wouldn't be easy to find... There's not a massive amount of difference really. Explain The Style is a bit like a dub version of Detroit..., with one or two noises that also turn up in that B1 track (the bubbly sound and the troit! sample). But Explain The Style takes much longer to develop and its organ-like riff is utterly sick. Detroit... sounds almost quite mellow or colourful, but Explain... is absolutely furious, in that understated manner unique to Hood's best productions. Oh, and there's an extremely subtle phasing/gliding effect on Explain... which isn't there on Detroit Listen to the former track really loud and it becomes extremely effective; does my head in, at least! Brendan
RE: (313) OT :Oh! Canada,,, Oh Canada,,,,,,,,,
Careful Rob! We can't have 'em all coming over here, stealing our jobs, chewing their gum, wooing our womenfolk and raiding our second-hand shops for desirable rarities before we've even had a chance to sleep off our hangovers... ;) -Original Message- From: Robert Taylor [mailto:[EMAIL PROTECTED] Sent: 03 November 2004 16:41 To: [EMAIL PROTECTED]; Redmond, Ja'Maul; 313@hyperreal.org Subject: RE: (313) OT :Oh! Canada,,, Oh Canada, You should all come over here. You'd at least get more chances to check out Detroit acts ;) -Original Message- From: Stephen Burd [mailto:[EMAIL PROTECTED] Sent: Wednesday, November 03, 2004 4:39 PM To: 'Redmond, Ja'Maul'; 313@hyperreal.org Subject: RE: (313) OT :Oh! Canada,,, Oh Canada, please take him. -Original Message- From: Redmond, Ja'Maul [mailto:[EMAIL PROTECTED] Sent: Wednesday, November 03, 2004 10:50 AM To: 313@hyperreal.org Subject: (313) OT :Oh! Canada,,, Oh Canada, I never thought I would be the political type, but with America truly showing what direction it wants to continue in it's future, I know ask you canadian 313er's. How is Canada? I hear it's great for the arts and not bad for techno, my girlfriend loves vancouver. Would you accept another disgruntled american,,,:)
RE: (313) OT :Oh! Canada,,, Oh Canada,,,,,,,,,
Well, the American nation was founded by people who were escaping persecution and discrimination in their home countries. It's not entirely out of keeping with the American mindset for people who aren't extreme right-wingers to be getting itchy feet themselves right about now. -Original Message- From: LR T [mailto:[EMAIL PROTECTED] Sent: 03 November 2004 17:14 To: [EMAIL PROTECTED]; 313@hyperreal.org Subject: RE: (313) OT :Oh! Canada,,, Oh Canada, I feel the same way. The Presidency, House, and Senate are in the GOP control. Several states passed very restrictive acts concerning the definitions of marriage. I went to Montreal this summer for Mutek and loved the city. Toronto is nice too. We half jokingly said it would be great to move there. If only the winters weren't so brutal..
RE: (313) are they serious?
Good point - UK-bashing is definitely a bit of a trend these days on 313, but let's not go down the road of forgetting what nation has the world's biggest problem with obesity... :) -Original Message- From: Robert Taylor [mailto:[EMAIL PROTECTED] Sent: 20 October 2004 10:57 To: [EMAIL PROTECTED]; Martin Dust Cc: 313@hyperreal.org Subject: RE: (313) are they serious? Haha that's rich, coming from the land of the supersize! -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Tuesday, October 19, 2004 8:42 PM To: Martin Dust Cc: [EMAIL PROTECTED]; 313@hyperreal.org Subject: Re: (313) are they serious? I understand England has a shortage of thin women. ;) ###
(313) Photos from Shawn Rudiman's live set
We're currently working on getting the recording of Shawn's live PA in London online - should be happening in a few days - but, in the meantime, here are some pictures from the night. There are one or two regular 313 contributors showing up in these shots, and a lot of strangers as well. It seems as though word of the Shawn Rudiman live set got around, and a lot of previously unseen faces showed up... http://www.flashpointclub.com/pics/2004-10-14 I doubt the BPI can give us any hassle over uploading a live set of exclusively original material, so when the mp3 is online I'll post the URL to it. It really was a bloody good slice of live techno, the way it should be done! We're all looking forward to Rei Loci's performance next month now, along with Jason and Elijah's sets. Irn Bru and deep-fried Mars bars will be provided in keeping with the general Glaswegian theme of the night... Brendan
RE: (313) are they serious?
Err, there are... 3 of them, making up... 1 band, and they've worked with... 3 producers on their most recent album? -Original Message- From: Robert Taylor [mailto:[EMAIL PROTECTED] Sent: 19 October 2004 18:23 To: SeanDeason©; Martin Dust Cc: 313@hyperreal.org Subject: RE: (313) are they serious? Not sure I get this - what's this to do with 313? :) -Original Message- From: SeanDeason© [mailto:[EMAIL PROTECTED] Sent: Tuesday, October 19, 2004 4:20 PM To: Martin Dust Cc: 313@hyperreal.org Subject: Re: (313) are they serious? dammit Martin! I had my eye on the one on the right. hands off fella!
(313) [London spam] Shawn Rudiman this Thursday
Sorry for the spam, but there may be a few 313ers who still don't know about this... mail me offlist if you need any further info! Flashpoint Launch Party http://www.flashpointclub.com Thursday 14th October 2004 @ Public Life 82a Commercial Street, London (map at http://tinyurl.com/5v9tq) featuring: * Shawn Rudiman * - live PA (11th Hour, 7th City, Technoir Audio) plus: Matt Chester (11th Hour) Tristan Watkins Nick Craddock (Phonopsia / Valvo) Guy Thackeray and Brendan Nelson (Non Stop DJs) Doors open at 6.30pm, the night runs until around 2am, and entry is *free*! Here's some blurb about the night (it's a new monthly do): 1th Hour Technology and Non Stop Productions are very pleased to join forces and announce the birth of Flashpoint - a new monthly night for London! It will be our pleasure to present regular high quality label and artist showcases, all in the intimate setting of London's infamous Public Life. To kick things off in style, we will be hosting a special FREE launch party, featuring the core artists from our labels own rosters, alongside a couple of special guests from the cream of London's local talent... 11th Hour's Shawn Rudiman will return to London to rip things up with a two hour live Detroit techno workout - to those of you who have witnessed this before, no further introduction will be needed - to those that haven't, this is an improvised analogue funk assault not to be missed! He will be ably backed up by the Flashpoint residents - 11th Hour Recordings' Matt Chester; and the Non Stop DJs, Brendan Nelson and Guy Thackeray. We also see the welcome return to Public Life of Tristan Watkins and Nick Craddock, who previously teamed up with the Non Stop DJs at Public Life for the ass-shaking Bootytronics party. And, as if all this wasn't enough, be sure to watch out for our November party: Iridite Records Showcase - Saturday 20th November Rei Loci (live) - (Iridite, Headspace, Down Low, Seventh Sign) Jason Brunton - (Iridite, 20:20 Vision, Down Low) Elijah - (Iridite)
RE: (313) [Fwd: [Techhouse] Jetgroove Attorney Responds]
It wouldn't surprise me if there's no music actually sitting on their computers at all - they may well have just populated their database directly from Discogs. The whole enterprise looks highly dodgy to me. I hope it doesn't indicate that sharky mp3 net entrepeneur types, scared off by the powerful and litigous RIAA and BPI, have decided to focus their attention on us poor and lawyer-less types in the underground/non-commercial world. In many ways the underground must look like easy meat compared to major label artists. Brendan -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 08 October 2004 16:23 To: 313@hyperreal.org Subject: Re: (313) [Fwd: [Techhouse] Jetgroove Attorney Responds] I've been thinking. Some of the Delsin stuff on there - it's hard to find right? Also, Martin says his stuff is on there. Am I right in thinking you've had nothing out yet Martin? Have you sent any promo's out? How have they got your stuff? they've got thousands of tracks on there. Everyone knows how long it takes to record stuff in. They must have took these mp3's from a peer to peer site? Do you think?
RE: (313) This IS the new Swayzak sound
True, it doesn't. But at the same time I myself don't find the idea of listening to someone else paying their bills very appealing... -Original Message- From: /0 [mailto:[EMAIL PROTECTED] Sent: 06 October 2004 16:29 To: 313@hyperreal.org; [EMAIL PROTECTED] Subject: Re: (313) This IS the new Swayzak sound glad he's making money. artistic integrity doesn't pay the bills -Joe
RE: (313) EU Boycott : An Irish response
Very well said, Eamonn. This is the most clear and articulate response to Mani's boycott announcement that I've read yet. I do hope that those who've been accusing some of us of overreacting to the proposed boycott of our continent's electronic music scene take the time to read through this post and take its well-made points into consideration. Brendan -Original Message- From: D1 [mailto:[EMAIL PROTECTED] Sent: 05 October 2004 16:09 To: 313@hyperreal.org Subject: (313) EU Boycott : An Irish response To view Mani's remarks with serious concern is neither to overreact to them, nor to misconstrue them. The plain fact that his comments were ill conceived, poorly phrased and badly judged is not something for those offended to overlook, but for him to redress...
RE: (313) [Fwd: FW: EAR techno declaration of an EU boycott and an END TOEUROPEAN insourcing of TECHNO MUSIC]
To paraphrase the first paragraph of his statement: For a long time obS/EAR existed as an entity which assisted in marketing EU artists and beyond into the US... I have decided to make a major change... I have decided that I am going to begin looking inward. This means that this collective of artists will remain tied to the American scene and American DJs... I cannot sit by any longer and watch what was created here in the States get redone and sold back to us at import prices. Yet, we have made an exception with [Steve Rachmad and the Advent] This - alongside the much more succinct headline - makes it exceptionally clear that EAR is no longer going to book EU artists, bar the two stated exceptions, as it now considers itself to be tied to the American scene. I don't think we need to do any more quibbling about the actual substance of the statement. Brendan -Original Message- From: Stoddard, Kamal [mailto:[EMAIL PROTECTED] Sent: 04 October 2004 17:59 To: 'Hardie, Nick' Cc: 313 List (E-mail) Subject: RE: (313) [Fwd: FW: EAR techno declaration of an EU boycott and an END TOEUROPEAN insourcing of TECHNO MUSIC] but surely to reply to an insinuation made in the subject or the footer and disregard the explicitly personal nature of the entire message body is not a way to gain an understanding of his motives. and all replies have been to the nature of his motives. just think there's a lot of smoke being blown about when the fire ain't that hot yet.
RE: (313) EU Boycott and an End To European Insourcing Of Techno Music
Lastly, I depart with this. Why is that the USA is up in arms when technology jobs are outsourced to India and China, yet not at all DISGUSTED when the European magazines and scene come into our scenes demanding huge fees and arriving with difficult attitudes, resulting to a trend of the US getting InSourced...? No offence meant to anyone, but this is one of the most ridiculous things I've read in the last few months (at least). Is this a prank? What does an EU boycott achieve other than a totally needless attack on the global nature of the techno scene? I'm surprised to see this sort of aggressively isolationist mentality creeping into this field of electronic music. Besides, it's not even a consistent decision: this collective of artists will remain tied to the American scene and American DJs, it says, but when you look at the E.A.R. roster, it's not exactly composed of rootin' tootin' pure-as-apple-pie Americans by any means. Anyway, maybe I'm over-reacting a bit. Are we going to see a patriotic techno tour of the Bible Belt states in the near future? Bootlegs of French Kiss coming out, renamed Freedom Kiss? It's all a bit strange, and depressing in a way. Brendan
RE: (313) USA Boycott
From: Robert Taylor [mailto:[EMAIL PROTECTED] Sent: 01 October 2004 11:02 Let's not turn this into a Europe vs USA bitter flame war. I think most people know that good music should be supported whether it comes from Missouri or Macedonia - techno has no national borders, surely? Definitely not, or at least not as far as I'm concerned anyway. I'm happy to draw a line, however, between people who see techno as a global movement and people who insist on dividing it up along nationalistic lines. I wouldn't want to work with anyone who confused the love of electronic music with misguided notions of nationalism and protectionism, because if that sort of viewpoint became prevalent the nature of the techno scene would change beyond recognition. Brendan
RE: (313) USA Boycott
-Original Message- From: robin [mailto:[EMAIL PROTECTED] Sent: 01 October 2004 10:18 i mean maybe the fact that techno is appreciated a lot more in Europe is a problem for some peoplebut that is not the fault of Europeans and to point the finger in that direction is unfair. It's extremely unfair, as it means that the flow of money tends to be from the Europe to the US. More Europeans are buying American records and paying to see American DJs than Americans are buying European records or seeing European DJs, if that makes sense. Obviously that doesn't trouble me - only a knuckle- dragging, mouth-breathing throwback would rail against Europe insourcing techno artists from the US and try to adopt a policy whereby European clubs should only book European DJs. It's the ideal way to nurture an insular and inbred scene. Another funny thought - what if a DJ on the E.A.R. roster played or charted a record by a European artist? Would they get dropped? Brendan
RE: (313) USA Boycott
-Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 01 October 2004 13:45 That's why my blood starts boiling beyond belief when people like this come along blaming europeans for whatever it is we are supposed to have done. I know exactly what you mean - but the thing to bear in mind is that this guy isn't exactly likely to get a great deal of support from other people in the US, as generally speaking the techno scene doesn't appeal to neo-conservatives, isolationists, ultra-nationalists and other Fortress America types. So what you've got is someone with an extremely marginal point of view which isn't going to be adopted by other Americans. It's really easy to get angry, because you basically can't reason with nationalists. A nationalist will always discount the viewpoints of foreigners because contempt for the views of foreigners is pretty much fundamental to the whole concept of nationalism. So when you don't have any way to engage rationally with someone, anger is an understandable response. But it's best to try to suppress that anger; the only people who'd be able to reason with this guy are other Americans, as these are the only people he'll ever pay attention to or take seriously. Brendan
RE: (313) If
For the sake of being mildly controversial, it could be argued that Dusseldorf is city #1 (Kraftwerk) while Detroit is city #2 (Atkins, May, Saunderson co)... In the context of techno music, though, rather than electronic music in a broader sense, I'd definitely plump for Berlin over any city in the UK. However I'd also consider LA, which had a techno scene at around the same time as Detroit's techno scene was emerging (Techno Kut records, etc; a more overtly Cybotron-influenced style with no house characteristics, but it called itself techno). Brendan -Original Message- From: Martin Dust [mailto:[EMAIL PROTECTED] Sent: 22 September 2004 09:51 To: Mann, Ravinder Cc: 313@Hyperreal.Org Subject: Re: (313) If On 22 Sep 2004, at 08:41, Mann, Ravinder wrote: I can't put it down to a city but I would say the North of England. I recall that the take up for House/Techno was stonger in Leeds/Manchester/Sheffield. London was still doing its rare groove thang (and moved more towards acid jazz) when the North started to move from Rare Groove to House/Techno. I'd agree with this, it isn't London or Sheffield - I'm thinking more along Manchester/Birmingham/Berlin. London was way behind Manchester, Sheffield was before and Leeds I know nothing about the early scene - I don't ever remember traveling to a club there - it was always Stoke/Wigan/Manc/Sheff/Mansfield for me... I wasn't asking to start an argument, I really am interested in peoples views. (The club sets were a lot more open too, you would hear all styles of music in one night - gets nostalgic) A lot of people forget this, I remember Inner City being slammed in PWEI at the Hac - people still went nuts. Martin Rav
RE: (313) Deep space mixes
They're at http://www.emotionelectric.com/mixes.html ... -Original Message- From: Stewart Caig [mailto:[EMAIL PROTECTED] Sent: 20 September 2004 11:42 To: 313@hyperreal.org Subject: (313) Deep space mixes Can someone point me in the direction of those Deep Space mixes? Working from home today and wanna listen to them finally. Cheers Stu
RE: (313) Blue Monday (Plastikman remix)
I've heard a remix of Blue Monday by Richie Hawtin before, but I'm not totally sure if it was done under the Plastikman alias. I wasn't totally blown away by it, to be honest, but it's a while since I last gave it a listen (it's at home on my hard drive...) Brendan -Original Message- From: placid [mailto:[EMAIL PROTECTED] Sent: 20 September 2004 17:48 To: 'Martin Dust'; 313@hyperreal.org Subject: RE: (313) Blue Monday (Plastikman remix) Although I could well be wrong having googled about abit... P -Original Message- From: Martin Dust [mailto:[EMAIL PROTECTED] Sent: 20 September 2004 17:45 To: Ken Odeluga Cc: [EMAIL PROTECTED] Org Subject: (313) Blue Monday (Plastikman remix) A9. New Order Blue Monday (Plastikman remix) White anyone heard this? Martin On 20 Sep 2004, at 10:09, Ken Odeluga wrote: http://www.finalscratch.com/fs4/start.asp
RE: (313) UK 10th Party
Everything is looking good for tomorrow's party (at Public Life in Spitalfields; mail me offlist if you've just emerged from under a rock and need more details!). I'm sure we'll have tonnes of pictures, and we'll be recording all of the sets too. So if you're playing late, try to stay sober! :) Here's a provisional list of set times: 8.30pm-10pm Toby Frith (Bleep43) 10pm-10.45pmMaxim Sullivan (Soda Studios) 10.45pm-11.30pm Dan Butler (Qubist) 11.30pm-12.15am Tristan Watkins (Phonopsia, USA) 12.15am-1am Gerald Rogers (Matrix, Canada) 1am-1.45am Ken Odeluga (Bleep43) 1.45am-closeMatt Chester (11th Hour)/Brendan Nelson (Non Stop DJs) And remember, just mention 313 on the door and you'll get in for free... Brendan -Original Message- From: placid [mailto:[EMAIL PROTECTED] Sent: 17 September 2004 12:21 To: '313 Mailinglist List' Subject: RE: (313) UK 10th Party Yeah... good luck everyone... I'll get to one of these things soon... :) p -Original Message- From: Martin Dust [mailto:[EMAIL PROTECTED] Sent: 17 September 2004 12:01 To: 313 Mailinglist List Subject: (313) UK 10th Party Guys, have a great party tomorrow and make sure you get plenty of pictures... Martin
RE: (313) UK 10th Party
I really like Dusk Til Dawn, although I realise that hardly anyone else does... I think Marsel likes it too, actually? This subject came up a couple of weeks back: ...while everyone else I've spoken to about it says they really don't like the B side track, I'm very much drawn to it. I first heard it blind (went to visit a friend and he put it on without showing me the label) and was really blown away by it. It's a really unusual and distinctive set of sounds used, but I like that, and as Marsel says, it puts me in mind of older Kenny Larkin material. Although there's still something undeniably 21st-century about the sound! Looking forward to hearing it played out too. Brendan -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 17 September 2004 14:32 To: [EMAIL PROTECTED]; 313@hyperreal.org Subject: RE: (313) UK 10th Party yeah that and Catasphory for me..but Dusk til dawn is still taking its time to sink in.. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Fri 9/17/2004 2:25 PM To: 313@hyperreal.org Cc: Subject: RE: (313) UK 10th Party BTW whats the thought on Juan Aktins Back to Basics PT 2? I'm feeling Move (mix) Big time!! : ) _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) Another edition of Deep Space Radio from '94
Bloody hell! I've just finished downloading the first set, and already there's more... luckily I don't pay for bandwidth by the megabyte :) How did the tracklist for the previous show get on? I seem to remember only two tracks being listed... Brendan -Original Message- From: robin [mailto:[EMAIL PROTECTED] Sent: 17 September 2004 15:30 To: 313 Org Subject: (313) Another edition of Deep Space Radio from '94 More super-special stuff from the vaults. This time an edition of Deep Space Radio from 16.7.94 (euro date notation :) ). Four hours split into hour long segments. This time with the main host being DJ Minx (man, that voice!) See EmotionElectric.com for the fuel for ya tanks :) Again thanks to Ian Malbon (and Matt :) ) Have a good weekend folks.
RE: (313) The Face Magazine 1984 (and 1986)
Yeah, that's the book. Well worth a read, I reckon. The unifying theme behind each of the articles, which span from 1980 up til 1999 (IIRC), is nightclubs and dance culture. Other points of interest in the book include an article on NYC disco from 1983, featuring interviews with people like Shep Pettibone and Francois K; Neil Rushton's Northern Soul Primer from 1982; and a slightly mick-taking look at the early 90s crusty types who populated clubs like Whirl-y-gig. The central difference between Night Fever and other books Matt mentions below is that the other books are all contemporary while the Face book compiles articles written when these things were actually happening, so it has a bit more of an atmosphere as a result. Nice cover photo too! Brendan -Original Message- From: Matt MacQueen [mailto:[EMAIL PROTECTED] Sent: 09 September 2004 23:06 To: Alex Bond; 313 Subject: Re: (313) The Face Magazine 1984 (and 1986) On Sep 9, 2004, at 9:21 AM, [EMAIL PROTECTED] wrote: just following on from this topic, I found an interview with David Toop. (the writer of said electro article from '84) I may have deleted it but I think someone just mentioned the book that compiles some articles from The Face. It's pretty interesting, if you're into reading things like Techno Rebels and Last Night a DJ and Love Saves The Day, then check it out.. there is the infamous one (I think by Stuart Cosgrove) about Detroit's 'holy trinity'. It's a collection of many different articles thought, not a book with central premise. Still, some funny stuff. more info http://www.journalism.sfsu.edu/flux/literati/fever.html i've always loved that cover photo -- Matt MacQueen http://SonicSunset.com
RE: (313) Emanon
Chicago's DJ Nephets (Stephen to his mum) gets up to the same sorts of shenanigans, so I guess it spans the mid-west and isn't just restricted to Detroit! Brendan -Original Message- From: Mann, Ravinder [mailto:[EMAIL PROTECTED] Sent: 09 September 2004 10:05 To: '[EMAIL PROTECTED]'; 313@hyperreal.org Subject: RE: (313) Emanon Seems to be a thing with Detroiters and spelling backwards. Im sure Kenny Larkin has recorded as Yennek,nearly Kenny backwards. But cant remember the track. Anyone for anymore.. ? Rav -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 09 September 2004 10:00 To: 313@hyperreal.org Subject: Re: (313) Emanon (eman on = no name, backwards) ahh, thats what I like about here. you learn something everyday. : ) _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) The Face Magazine 1984 (and 1986)
Is that the June 1984 one? I've got that book which has a big selection of Face articles on clubbing and dance music culture, and it includes a big electro article from 1984 by David Toop and Paul Rambali - I'm guessing you've got the original issue? Competition is fierce, reputations are waiting to be made or lost. The threat of 'pirates' or 'biters'... is always present. That book also has a fairly funny article about house, where a Face journalist, Sheryl Garratt, goes to visit Chicago and hangs around with Chip-E, Ron Hardy, Marshall Jefferson, Frankie Knuckles and co in 1986. She asks the question, what is house music?, and all hell breaks loose... House music? I couldn't even begin to tell you what house is. You have to go to the clubs and see how people react when they hear it. It's more like a feeling that runs through, like old-time religion in the way that people jus' get happy and screamin'. It's happening! It's... house! Let me see if I can put it better. It's more like eighties disco songs in eighties style. It's Chicago's own sound. 'cept it came from New York, and they don't know it. It's rock til you drop, that's what it is! It's a status symbol to party all night at the Music Box. Everybody goes there - all the hippest kids in the city! You'll leave there a changed person. You might go and seek religion afterwards! She ends up being impressed by the enthusiasm of the house scene's advocates, but not by the music. She describes Awww Shucks by saying it was made cheaply and somehow sounds even cheaper. But that, everyone tells me, is part of the appeal. This 1986 article on house ends with the journalist asking Chip-E how long they can keep doing it (house) before people get bored. He turns to her with a grin and says about twenty years... Brendan -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 09 September 2004 10:48 To: 313@hyperreal.org Subject: (313) The Face Magazine 1984 While I was in London, I walked past this shop and spotted an old face magazine from '84. It's the one where the cover is a mock-up of the streetsounds electro comps. Big feature issue on Electro, loads of interesting shizz. So I picked it up, only £2. Anyhow, the editorial informs me that in 1984 England's dancefloors were reverberating to the sound of techno-funk and it also refers to the fierce dancable beat going round the clubs. so, yeah, techno-funk in 1984. In England! nice. I always knew we were pioneers really ; ) _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) Detroit Techno
-Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 07 September 2004 09:50 When someone says to you Detroit Techno, what do you immediately think of? a) the hard industrial vibe hard music for a hard city? or b) the melodic mid-tempo beats of say, World to World, or Never On Sunday or something. I tend to think of the whole shebang, that whole spectrum of music ranging from something like Kaotic Harmony or Icon all the way over to the Tranquiliser EP or Seawolf. But I'd probably also say that there's something like a median Detroit Techno sound, halfway in between the two edges of the spectrum, that's probably exemplified by things like the fourth Red Planet EP and tracks like The Art Of Stalking. Brendan
RE: (313) Detroit Techno
That's odd, that was one of the tracks I was going to suggest as being a piece of dead centre Detroit techno. But having already mentioned Kaotic Harmony and Icon I figured that there was a bit too much Derrick May content in my email already :) When I first heard It Is What It Is I was already familiar with the concept of Detroit techno, and with much of the actual music as well. But the music had never matched so perfectly with the concept - if that makes sense - as when I first heard that track. Also, when it was on the Channel 4 documentary, playing over shots of May wandering around a deserted industrial estate and that circuit-board-as-city video, I just thought yep, this pretty much sums it up... It combines the melodic sensibilities of Detroit techno with its dancefloor aspects so effectively - hard to think of any other tracks that do that so well. Brendan -Original Message- From: placid [mailto:[EMAIL PROTECTED] Sent: 07 September 2004 10:39 To: [EMAIL PROTECTED]; 313@hyperreal.org Subject: RE: (313) Detroit Techno For me - 'it is what it is' encapsulates everything about Detroit techno that I love it's the 1st thing I play when trying to describe techno to someone p -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 07 September 2004 10:34 To: 313@hyperreal.org Subject: Re: (313) Detroit Techno Martin Dit often shifts in my mind Yeah, me too. and I see you think of it differently as well. e.g. your first answer strings as opposed to say, the punisher KenIt's interesting to see what people in Detroit might regard as 'Detroit Techno' isn't it? yeah I reckon it is Ken. I reckon I benefit alot out of this list, I find it really interesting how people from different places percieve different things. Like say, do peeps in detroit consider that fast booty sound as detroit techno? BrendanI tend to think of the whole shebang, clever clogs! thats typical! No, I guess this is the correct way of thinking about it (or is there a correct way?) but for some reason, I don't think of it like that. Should be interesting when some of our comrades from across the pond drag their lazy labour day asses out of bed. ; ) btw, I don't know where this discussion is going, or the use of it. But my boss ain't in. oh and I have a Q for Greg Earle as well. Have you lived in San Fran all your life? Do you know an old band (punk/wave? - dunno what you'd call 'em).. THE UNITS. If you can remember them, I really want to try and get hold of someone who might know them, would be really grateful. _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) Detroit Techno
-Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 07 September 2004 10:45 Rare Piece Man Extroadinaire SaidFor me - 'it is what it is' encapsulates everything about Detroit techno that I love Yep, I get you. So, I might do a similar thing, for them to turn round and say nah, THIS is detroit techno and whack on the RIOT ep. But if you then took 100 Detroit techno records at random, and listened to them, the overall balance of styles would eventually suggest that RIOT was a bit nearer the edge, a bit of an anomaly, while It Is What It Is was nearer the centre. And the more records you randomly picked out to play, the more obvious that would become, I reckon! Brendan
RE: (313) Detroit Techno
-Original Message- From: Martin Dust [mailto:[EMAIL PROTECTED] Sent: 07 September 2004 11:05 [Quetzal] Well, I'd ask you to be objective rather than subjective ;) I love that track... I'd agree that Quetzal is also pretty near the bullseye, but would probably say that Birth Of 3000 is even more so. But maybe that's just me being subjective, as I prefer the latter to the former (but only just :) Brendan
RE: (313) Detroit Techno
I remember when I first came across that Flash guide to electronic music that was put together by a bloke called Ashok or something, which attempted to sum up Detroit techno with an audio snippet of Hood's Pole Position and a spiel about how Detroit techno is supposed to make you feel quite disoriented and lost. Of course, that *totally* missed the point, and I remember he was getting so many emails from people on 313 that he even put up a little notice saying if you're on the 313 list, don't email me OK!?... However, I do think that Hood and Mills count as Detroit techno (obviously!) even though they're not what might be called mainstream Detroit techno. One of the things I most like about Detroit techno in general is the fact that it's quite difficult to pigeonhole - you go to a Detroit techno party, and you're going to hear a very wide range of music as the night progresses. Most other styles of dance music can't really boast that degree of internal variation, I don't think. Brendan -Original Message- From: Matt Chester [mailto:[EMAIL PROTECTED] Sent: 07 September 2004 11:30 To: 313@hyperreal.org; [EMAIL PROTECTED] Subject: Re: (313) Detroit Techno For my part though, the mention of 'Detroit Techno' always makes me think of the richer, funkier and melodic side of things - tracks like Amazon and Final Frontier are the first in my thoughts. The likes of Mills and Hood wouldn't spring to mind at all, although I do love their earlier material and they are obviously just as much a part of Detroit's history...
RE: (313) Detroit Techno
-Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 07 September 2004 12:01 it's just what Matt said yesterday really made me think about the other people on this list, and maybe they get a bit hacked off with me and a few others talking about the kind of techno we like, as opposed to maybe what the majority think. I see what you mean... but I think that, on 313, there's a pretty heavy leaning towards the melodic, funky and soulful sorts of things. The majority of people on this list aren't here for hard techno, I reckon; mailing lists like G-Tech cater for that audience. While people aren't going to get shouted down for mentioning things like Punisher on here, you could probably guess that the average 313er is someone who likes a bit of the hard stuff when out in some dark sweaty club at 4am on a Sunday morning, but who generally looks for either a bit more funk or a bit more cerebral involvement from their electronic music. I might be wrong though! Who knows what the hundreds of 313 lurkers out there might be thinking? :) Brendan
(313) [London spam] 313 Birthday Party - reminder
Apologies to all non-UK 313ers, but here's a brief reminder about the upcoming London leg of celebrations for the tenth anniversary of the 313 list. Taking place at the tried and tested Public Life venue in Spitalfields, east London, on Saturday September 18th, the party will run from 8.30pm through to the small hours of the morning. Entry will be *free* for any 313ers and friends of 313ers: just say 313 on the door and you'll be allowed in. Anyone else will have to pay a £3 entry charge, but we will be keeping an eye on the numbers of non-313 types, as the last thing we want is for 313ers and their mates to be turned away because the venue is too full. That said, however, the last two 313 parties we've held at Public Life have been extremely busy, so try to get there sooner rather than later! The venue itself is at 82a Commercial Street, London - just outside Christ Church, you'll see a staircase leading down from street level. That's the place! Nearest tubes are Liverpool Street and Aldgate East. Here's a link to a map: http://tinyurl.com/5v9tq DJs on the night will be: Toby Frith (Bleep43) Tristan Watkins (Phonopsia, USA) Gerald Rogers (Matrix, Canada) Maxim Sullivan (Soda Studios) Matt Chester (11th Hour) Ken Odeluga (Bleep43) Brendan Nelson (Non Stop DJs) If anyone has anything they need confirmed or clarified, get back to me offlist and I'll do my best to help. Also, if anyone is thinking of coming from outside the UK or London and needs a place to crash, let me know - it's pretty much inevitable that something can be sorted out. Contrary to popular perception, us British 313ers are a friendly and welcoming bunch (or at least we try to be! :). Brendan
RE: (313) ah, as well..
[Juan Atkins - Back to Basics pt 2] I'm with Marsel on this one - while everyone else I've spoken to about it says they really don't like the B side track, I'm very much drawn to it. I first heard it blind (went to visit a friend and he put it on without showing me the label) and was really blown away by it. It's a really unusual and distinctive set of sounds used, but I like that, and as Marsel says, it puts me in mind of older Kenny Larkin material. Although there's still something undeniably 21st-century about the sound! Looking forward to hearing it played out too. Brendan -Original Message- From: Marsel // Nomorewords.net [mailto:[EMAIL PROTECTED] Sent: 27 August 2004 22:35 To: 313 Subject: Re: (313) ah, as well.. oh, i do very like that b-side maybe pitched to -4 but the contrast between the beats and chords - i like kinda remind me to kenny larkin older things
RE: (313) ah, as well..
-Original Message- From: Thomas D. Cox, Jr. [mailto:[EMAIL PROTECTED] Sent: 28 August 2004 18:15 [Juan Atkins - Back to Basics pt 2] I'm with Marsel on this one - while everyone else I've spoken to about it says they really don't like the B side track, I'm very much drawn to it. just listened to it last night, loved the 2 a side cuts, had to turn the b side off. i didnt hate it, but it just didnt sound right. i really really liked the a1 cut. I think that one of the things that made the track appeal to me was how obviously different in sound it was to what people generally expect from modern techno releases - I thought it was quite daring. I see what you mean about it not sounding right, but to me, the idea of a right sort of sound isn't really how I tend to connect with electronic music. Sometimes a different sort of sound will get me pretty excited, as it did with this track. But I realise that I'm definitely in the minority on this one! Brendan
RE: (313) [house/detroit] dj athens live dj set @ keidas 20.08.2004
-Original Message- From: Matt MacQueen [mailto:[EMAIL PROTECTED] Sent: 26 August 2004 03:16 On Aug 25, 2004, at 11:39 AM, Jussi Mononen wrote: urban culture - the wonders of wishing [eclipse] quadrant - dytiq [new electronica] VERY hot! Especially these last two! I dug dytiq out a few weeks back to stick it on a mix, and was almost as blown away as I was when I first heard it. It might be my favourite Quadrant track (although Quadrant Dub 2 is pretty hard to knock of the pedestal in that respect). And The Wonders Of Wishing I hadn't ever heard until that recent spate of represses. I was surprised that it's not held in higher esteem, to be honest; it's become one of my favourite Carl Craig productions, and (blasphemy alert!) I prefer it to the 69 tracks. Well, apart from Desire. And Microlovr... Brendan
RE: (313) ghettotech.de down???
It seems to be working fine from here...or at least http://forum.ghettotech.de is -Original Message- From: George Jones IV - Logic7 [mailto:[EMAIL PROTECTED] Sent: 25 August 2004 20:49 To: 313@hyperreal.org Subject: (313) ghettotech.de down??? Anyone know what's up with Ghettotech.de?
RE: (313) Vangelis influences in techno (was Blade Runner)
Also, there's Phebes by Hallucinator, on Chain Reaction. Could be from either Blade Runner or Solaris, I guess. Brendan -Original Message- From: Pascoe Mr S M [mailto:[EMAIL PROTECTED] Sent: 17 August 2004 10:47 To: 313@hyperreal.org Subject: Re: (313) Vangelis influences in techno (was Blade Runner) There's a beautiful ambient track on Monolake's Hong Kong LP that really sounds like it's straight out of Blade Runner to me. Can't actually remember the track title at the moment though !
RE: (313) games
When I was first getting into Detroit techno and similar sorts of sounds, I had a Commodore Amiga and most of the games I liked playing while listening to electronic music were early 3D games. There was something cold, crisp and sharply polygonal about 16-bit simulated realities that tied in so effectively with the music I was listening to then. The number one game was Hunter, in which you pretty much did your own thing in a sprawling polygonal archipelago. You could get in cars, vans, boats or helicopters, and go exploring. It was pretty nice to fly high over hilly little islands while listening to Balil or B12. Another one was Carrier Command, where you were in control of an aircraft carrier, but could also commandeer various aeroplanes and amphibious landing craft in order to invade islands held by the enemy. Launching a simultaneous sea, air and land invasion, and then watching your vector-line installations sprout from the ground after you've conquered an island, was always good fun with a bit of early UR playing. And then there was Virus, the David Braben Thrust-style game. Now *that* was pretty techno! The last game I played a lot of while listening to techno was X-Wing vs TIE Fighter, back in 1998. Chuck on Acid Rain III, lock S-foils in attack position, and away you go...! Brendan -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 17 August 2004 09:06 To: 313 Subject: Re: (313) games Don't forget: REZ (Dreamcast, cause it felt much better than on PS) Wipeout 1 (the reason why i bought a PS) and my absolute oldschool alltime top favourite music related game (also my first in this direction): TO BE ON TOP (C64) Ronny ok, after/beside the movies i drop my most 313/techno game Homeworld (incl. Catalysm Homeworld II) what about?
RE: (313) track ID
-Original Message- From: matt kane's brain [mailto:[EMAIL PROTECTED] Sent: 17 August 2004 20:22 At 03:23 PM 8/17/2004, atomly wrote: What would you listen to on the way there to get yourself pumped up? i would recommend sonic destroyer by x-101 Go 4 Yourz by Ultramagnetic MCs, and Ten Four by Joey Beltram. Brendan
(313) Star Wars (was RE: (313) Techno Films)
My take on Star Wars is that it's 1930s sci-fi visually rendered with an immense 21st-century budget. Immature, swashbuckling, aimed-at-kids romp - yep, that's all true. But that's pretty much the form. It's undeniable that it influenced practically a whole generation, and caused loads of kids to develop a fascination with outer space, aliens, snazzy futuristic technology and kick-ass sound design which IMHO helped to provide a cultural environment in which techno music, when it came along a decade later, was able to capture the imaginations of so many people who, as children, had been awe-struck by Star Wars and never got over that sense of fascination with the future and with imaginary worlds. Brendan -Original Message- From: Stewart Caig [mailto:[EMAIL PROTECTED] Sent: 16 August 2004 10:18 To: 313@hyperreal.org Subject: Re: (313) Techno Films As for Star Wars, I agree with Sean - IMO it's the most overrated film of all time - I loved it when I was a kid, but when I saw the new editions as an adult I realised how shoddy they were - it was comparable to watching the A-Team again after 20 years and realising that it was aimed at people with tiny little brains (ie children) Thats a little condenscending to the many people on this list who do still hold Star Wars in high regard...
RE: (313) Techno Films
I'm generally agreed with everyone on the Blade Runner, Metropolis and 2001 mentions. Solaris, though, has always struck me as being a bit of an ambient film, or more accurately a Basic Channel film; when I watch it, I can't help thinking how it would work with a dubbed soundtrack by Vainqueur or Maurizio... Here are another two which I've not noticed anyone mention so far (although I may have just missed them) - Robocop (it's set in Detroit!) and Brother From Another Planet (Claude Young used the title as a pseudonym!). So both fairly techno films, and with heavily on-topic aspects to them as well. Maybe Robocop is more of a rave film though? Brendan -Original Message- From: Anya K Stang [mailto:[EMAIL PROTECTED] Sent: 16 August 2004 11:23 To: 313@hyperreal.org Subject: RE: (313) Techno Films Blade Runner will always be my ultimate Techno film. Metropolis comes a pretty close second, then Solaris and 2001. I also relate to Sean on the Seven, KillBill and Snatch tip. Nothing out of the ordinary here. h. *shrugs* : ) Anya -- NEU: WLAN-Router für 0,- EUR* - auch für DSL-Wechsler! GMX DSL = supergünstig kabellos http://www.gmx.net/de/go/dsl
RE: (313) Star Wars (was RE: (313) Techno Films)
I'd say that the exploitation of kids through merchandising had been around for a long time before then. Star Wars did change that whole market, though, largely due to the fact that the film's design was so effective that there was *demand* among kids for replicas of the film's starships, characters, droids and so on. Things like Star Trek had never created that sort of demand, largely because the design was much more mediocre. The big question is, were kids made to want these replicas, or did they just *want* them? Speaking for myself, I just *wanted* to have a model of the Millennium Falcon. Previous generations of kids were just the same with model warplanes, tanks and cars: Star Wars just came up with things that were far better-looking than the standard military fare kids had wanted before. I'd say that it's misleading to imagine Hollywood cinema prior to Stars Wars as having put substance over style; it had been pretty schlocky since its inception, IMHO. The proportion of films coming out of Hollywood which are particularly insightful or thought-provoking seems pretty much the same now as it was in, say, the late 1960s. To think otherwise (films were much better in the past) is, I'd suggest, another way in which nostalgia can override one's critical faculties. Brendan -Original Message- From: Robert Taylor [mailto:[EMAIL PROTECTED] Sent: 16 August 2004 13:16 To: Brendan Nelson; Stewart Caig; 313@hyperreal.org Subject: RE: (313) Star Wars (was RE: (313) Techno Films) It also kickstarted the exploitation of kids through merchandising. Hollywood went seriously down hill after Star Wars' success (the triumph of style over substance), not that that is Lucas' fault. It now only seems concerned on capitalising on past successes instead of coming up with new ideas. In my not so humble opinion of course ;) -Original Message- From: Brendan Nelson [mailto:[EMAIL PROTECTED] Sent: Monday, August 16, 2004 10:59 AM To: Stewart Caig; 313@hyperreal.org Subject: (313) Star Wars (was RE: (313) Techno Films) My take on Star Wars is that it's 1930s sci-fi visually rendered with an immense 21st-century budget. Immature, swashbuckling, aimed-at-kids romp - yep, that's all true. But that's pretty much the form. It's undeniable that it influenced practically a whole generation, and caused loads of kids to develop a fascination with outer space, aliens, snazzy futuristic technology and kick-ass sound design which IMHO helped to provide a cultural environment in which techno music, when it came along a decade later, was able to capture the imaginations of so many people who, as children, had been awe-struck by Star Wars and never got over that sense of fascination with the future and with imaginary worlds. Brendan -Original Message- From: Stewart Caig [mailto:[EMAIL PROTECTED] Sent: 16 August 2004 10:18 To: 313@hyperreal.org Subject: Re: (313) Techno Films As for Star Wars, I agree with Sean - IMO it's the most overrated film of all time - I loved it when I was a kid, but when I saw the new editions as an adult I realised how shoddy they were - it was comparable to watching the A-Team again after 20 years and realising that it was aimed at people with tiny little brains (ie children) Thats a little condenscending to the many people on this list who do still hold Star Wars in high regard... ## ### Note: Any views or opinions are solely those of the author and do not necessarily represent those of Channel Four Television Corporation unless specifically stated. This email and any files transmitted are confidential and intended solely for the use of the individual or entity to which they are addressed. If you have received this email in error, please notify [EMAIL PROTECTED] Thank You. ## ###
RE: (313) Star Wars (was RE: (313) Techno Films)
I think Star Wars is a particular bugbear of yours partly because so many people - especially in the world of electronic music - like it so much ;) The 1970s probably was Hollywood's heyday, but I'd suggest that that was more down to the social backdrop in the US at the time. Vietnam, severe recession, post-1960s souring of the hippie dream - these all inspired a lot of the 1970s movies that I myself still hold in extremely high regard. My favourite film from the 1970s (and possibly my favourite film ever) is Network; they very rarely make films like that anymore. Brendan -Original Message- From: Robert Taylor [mailto:[EMAIL PROTECTED] Sent: 16 August 2004 13:39 To: Brendan Nelson; 313@hyperreal.org Subject: RE: (313) Star Wars (was RE: (313) Techno Films) I guess you're right - Star Wars is a particular bugbear of mine, but it is more to do with what it represents to me than anything else. That and the fact that I think it's sh!te ;) I suppose I am nostalgic for what I see as Hollywood's heyday - the 70s - they definitely don't make films like The Godfather and Taxi Driver anymore IMO, so I've been hoist by my own pertard yet agian :) -Original Message- From: Brendan Nelson [mailto:[EMAIL PROTECTED] Sent: Monday, August 16, 2004 11:28 AM To: 313@hyperreal.org Subject: RE: (313) Star Wars (was RE: (313) Techno Films) I'd say that the exploitation of kids through merchandising had been around for a long time before then. Star Wars did change that whole market, though, largely due to the fact that the film's design was so effective that there was *demand* among kids for replicas of the film's starships, characters, droids and so on. Things like Star Trek had never created that sort of demand, largely because the design was much more mediocre. The big question is, were kids made to want these replicas, or did they just *want* them? Speaking for myself, I just *wanted* to have a model of the Millennium Falcon. Previous generations of kids were just the same with model warplanes, tanks and cars: Star Wars just came up with things that were far better-looking than the standard military fare kids had wanted before. I'd say that it's misleading to imagine Hollywood cinema prior to Stars Wars as having put substance over style; it had been pretty schlocky since its inception, IMHO. The proportion of films coming out of Hollywood which are particularly insightful or thought-provoking seems pretty much the same now as it was in, say, the late 1960s. To think otherwise (films were much better in the past) is, I'd suggest, another way in which nostalgia can override one's critical faculties. Brendan -Original Message- From: Robert Taylor [mailto:[EMAIL PROTECTED] Sent: 16 August 2004 13:16 To: Brendan Nelson; Stewart Caig; 313@hyperreal.org Subject: RE: (313) Star Wars (was RE: (313) Techno Films) It also kickstarted the exploitation of kids through merchandising. Hollywood went seriously down hill after Star Wars' success (the triumph of style over substance), not that that is Lucas' fault. It now only seems concerned on capitalising on past successes instead of coming up with new ideas. In my not so humble opinion of course ;) -Original Message- From: Brendan Nelson [mailto:[EMAIL PROTECTED] Sent: Monday, August 16, 2004 10:59 AM To: Stewart Caig; 313@hyperreal.org Subject: (313) Star Wars (was RE: (313) Techno Films) My take on Star Wars is that it's 1930s sci-fi visually rendered with an immense 21st-century budget. Immature, swashbuckling, aimed-at-kids romp - yep, that's all true. But that's pretty much the form. It's undeniable that it influenced practically a whole generation, and caused loads of kids to develop a fascination with outer space, aliens, snazzy futuristic technology and kick-ass sound design which IMHO helped to provide a cultural environment in which techno music, when it came along a decade later, was able to capture the imaginations of so many people who, as children, had been awe-struck by Star Wars and never got over that sense of fascination with the future and with imaginary worlds. Brendan -Original Message- From: Stewart Caig [mailto:[EMAIL PROTECTED] Sent: 16 August 2004 10:18 To: 313@hyperreal.org Subject: Re: (313) Techno Films As for Star Wars, I agree with Sean - IMO it's the most overrated film of all time - I loved it when I was a kid, but when I saw the new editions as an adult I realised how shoddy they were - it was comparable to watching the A-Team again after 20 years and realising that it was aimed at people with tiny little brains (ie children) Thats a little condenscending to the many people on this list who do still hold Star Wars in high regard
RE: (313) Bladerunner was Re: (313) Techno Films
-Original Message- From: Thomas D. Cox, Jr. [mailto:[EMAIL PROTECTED] Sent: 16 August 2004 13:47 it is one of my favorite movies ever. the best sample ive heard using it is the I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhauser gate. All those moments will be lost in time, like tears in rain. Time to die. part. Is it true that Rutger Hauer himself wrote that just before the scene was shot? If so, that's a pretty bloody impressive piece of screenwriting, especially coming from an actor. Brendan
RE: (313) Techno Films 23
-Original Message- From: Martin Dust [mailto:[EMAIL PROTECTED] Sent: 16 August 2004 16:19 Now I'm feeling a little better... For me I'd have to go for something by Alejandro Jodorsky, maybe Santa Sangre. Dark, twisted and outside norm, not a cliche in sight - a very clever film that works on many levels - very techno! I saw a bit of Holy Mountain at the weekend, but was too out of it to properly take it in. Very intriguing though, I'll need to give it another try. Alejandro Jodorsky was originally going to film Dune, before it got handed over to David Lynch. It would have been really interesting to see what he'd have made of it! I also recently read an interview with Jodorsky in which he says that the only American film of the last few decades that he can be arsed with is the amazing Starship Troopers, which he describes as an art film. I am definitely with him on that one - Starship Troopers is a criminally underrated masterpiece, IMO, and it's good to know I've got some back-up from an art-house heavyweight such as Jodorsky :) Brendan
RE: (313) Star Wars (was RE: (313) Techno Films)
-Original Message- From: Greg Earle [mailto:[EMAIL PROTECTED] Sent: 16 August 2004 17:29 much the same now as it was in, say, the late 1960s. To think otherwise (films were much better in the past) is, I'd suggest, another way in which nostalgia can override one's critical faculties. Whoa, cowboy. Is it nostalgia, or simply fact? It is way OT, I agree, and not really my own specialist subject either, so this'll be my last comment as well! The general point I'd make is this: when someone in 2004 thinks to themselves, say, what movies came out in 1971?, I would be pretty confident that they'll forget a whole heap of awful cash-ins, turkeys, flops and bombs that came out this year. Selective memory will make the most critically lauded films leap to the fore, and this sort of thing can generally lead to a perception of the past being better than the present. To be honest, this is a principle I find myself applying to music nostalgists more than to movie buffs, and I feel that I'm on safer ground when talking music. It's a common misconception, for example, that the 1960s wasn't all Hendrix and Coltrane, and that an awful lot of crap came out then; my general point to Rob was that the same thing applies to movies. No-one spends too much time thinking about the rubbish, and so they only tend to remember what was good. Plz 2 tell me your particularly insightful and thought-provoking Hollywood movies of the present day, Brendan. I don't quite know about present day - will fairly recent do? I thought that The Truman Show was a fairly timeless film, in that it didn't really smack of contemporary Hollywood output. I also like Groundhog Day and the games it plays with time and causality. These are pretty crappy examples, I admit. But I'm sure I could dig about on IMDB and find loads of *really* crappy movies from the 1970s, 1960s or even earlier. As I said, though, I'm no expert on film in general, and am not denying in any way that Hollywood is largely bankrupt in a creative sense. However, I'm not totally convinced by the argument that every film made in the 1970s was a masterpiece - surely it's obvious that bad films are as old as the movie industry itself? Ob313: It's kinda like Techno to me - 10 years ago, the expanse of the sonic palette to fill in with new Techno was utterly vast. I was so happy to be around back then and hearing all this amazing music which truly sounded like The Music Of The Future. Nowadays I hardly hear anything that sounds new to me anymore - so much music has come out in those 10 years that the sonic space has been filled up. Is it nostalgia on my part, or just the simple fact that, as time goes on, motifs get used up, styles get invented, used and over-saturated, and pretty soon there's hardly anywhere new to go (then the revivals happen ... lol). My own musical taste in the early 1990s was pretty much defined by the amount of new motifs, styles and sounds I heard in any particular track. Once my taste in electronic music was locked down, so to speak, I'd gravitate towards tracks that were most effective at integrating the motifs I was most drawn to (cf. Detroit techno). As I get older, I'm aware that this is more and more the case, and as you say, I don't find myself hearing anything that sounds new. But the question is, is it a sense of nostalgia for the old stuff that's somehow leading people like you or me away from the new stuff? That it is getting made, but we're all too esconced in our own musical comfort zones to encounter any of it? Or that, when we do hear it, age (and a nostalgic sense of what new-sounding music should be like; namely that it should be made with 909s and Juno synths!) somehow prevents us from perceiving the newness in a piece of music? Brendan
RE: (313) Star Wars (was RE: (313) Techno Films)
-Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 16 August 2004 18:25 The general point I'd make is this: when someone in 2004 thinks to themselves, say, what movies came out in 1971?, I would be pretty confident that they'll forget a whole heap of awful cash-ins, turkeys, flops and bombs that came out this year. Hopefully they wouldn't mention Star Wars because it came out in '77 Obviously! But here we're talking about Star Wars having been a watershed - this little sub-thread has come out of Rob's original comment that Star Wars marked a turning point for Hollywood. That things were good before Star Wars and bad afterwards. That's why I used 1971 as the year in my example above... Brendan
RE: (313) P2P
-Original Message- From: robin [mailto:[EMAIL PROTECTED] Sent: 11 August 2004 11:16 as does playing these tracks as part of a mix on radio (online or otherwise). and i think technically playing records out in public ie. at a club. so where does this leave us? Juno, Piccadilly and other online record shops can't host clips of tracks any more, for one... Radio stations need to pay fees to the PRS (in the UK) as they do generate money off the back of the music they play. So do licensed clubs and bars and so on - part of the reason why people go to these places is to hear music, and so the people who make the music need to be paid. I think the line would be crossed if someone hosted online mixes, charged people for downloading them, and didn't pass any revenue on to the artists whose tracks appeared on the mixes. As it is, online mixes are pretty much promotional devices for underground records, and there are tonnes of records I own which I first heard on online mixes. They've replaced mixtapes in that sense, I'd say. Ah, mixtapes... gets all nostalgic Brendan
RE: (313) P2P
-Original Message- From: Rc [mailto:[EMAIL PROTECTED] Sent: 11 August 2004 11:24 you'll actually find that virtually all terrestrial radio stations (bar the odd pirate staion) in the UK have licences in place to braodcast musical works. Most clubs will have public performance licences too. Online is a different story though. Yeah; most websites don't make any money, while clubs and radio stations do... Brendan
RE: (313) P2P
-Original Message- From: Martin Dust [mailto:[EMAIL PROTECTED] Sent: 11 August 2004 11:30 Juno, Piccadilly and other online record shops can't host clips of tracks any more, for one... Why B? I was just pointing out the sorts of things that would change if hosting low-quality segments of copyrighted musical works online was absolutely outlawed. Effectively, part of a track appearing as part of an mp3 mix is no different to part of a track appearing as a preview clip on a record shop's website. Neither is anything like the equivalent of *owning* a track, which is why I reckon that hosting mp3 mixes online isn't a bad thing... (..so long as the site hosting the mixes isn't money-making and every effort is taken to provide full tracklist info, of course!) Brendan
RE: (313) Party
Yep, the party is a definite go for September 18th. I'll just take this chance to mention that not all slots have been booked, so if you're thinking of coming and fancy spinning some records, then drop me a line! Priority will be given to people coming in from outside the UK, or outside London. Has anyone in the US got back to Raph about the venue offer in Detroit? I'd really like to see something happening over there, it's just a shame that I don't have the financial resources or the international reach to sort something out myself! Brendan -Original Message- From: Paul Kendrick [mailto:[EMAIL PROTECTED] Sent: 11 August 2004 15:09 To: Gerald; 313 Org Subject: RE: (313) Party I may have got the FK date wrong, it could be on the 18th and clashing with the 313 party if it happens. I'll check
RE: (313) LD/313 Party Pics
-Original Message- From: jason kenjar [mailto:[EMAIL PROTECTED] Sent: 04 August 2004 13:56 Who dat sporting the record collector tee??? thats like 5 blocks from my house. I believe that's former Iowa City resident Tristan Watkins. you london kids are a damn strange bunch What do you mean by this? Brendan
RE: (313) 313 Tenth Anniversary Party
The funny thing is, the party itself has generated no traffic aside from my original notice about it. This whole thread largely consists of complaints about the fact that no-one's set something up in Detroit, and so I think most of the contributors to it wouldn't move to a separate list to continue that discussion. I think that splitting the list up into several groups isn't really the best thing. The next step would be to have a separate list for Movement, for radio shows, for Chicago events, Berlin events, etc etc. If the party here in London was generating loads of traffic in and of itself, then fair enough, but it actually isn't. Brendan -Original Message- From: David Beattie [mailto:[EMAIL PROTECTED] Sent: 04 August 2004 11:51 To: 313@hyperreal.org Subject: Re: (313) 313 Tenth Anniversary Party If the idea of a party being organised in the UK (for whatever reason) is irrationally annoying people so much perhaps we should resurrect the UK-313 list that was set up for the first? UK party a few years back? Ive looked but cant find any info on it, but if we did that then people who want to know what is going on can be kept informed and others - well they dont have to subscribe? Just a thought Cheers BT --- Phonopsia [EMAIL PROTECTED] wrote: I can understand the sentiment, but Brendan had this on his mind for a while and tried (is trying???) a number of ways to make this inclusive. It was *never* meant to be an exclusive London party, just a party in London for those on [313] who *can* make it to this one, in honour of the tenth anniversary. Similarly, people in Scotland could make an argument that the party should be up there. Let's face it, there's been a hell of a lot of British participation in this list for a long time, so it follows that those of us who live an ocean away would want to celebrate the list that helps us participate in Detroit's music when so many of us can't make the trip. Tristan === http://www.phonopsia.co.uk [EMAIL PROTECTED]
RE: (313) 313 Tenth Anniversary Party
Ah yes, good point! Modems were no doubt short-circuiting around the world after that one :) Brendan -Original Message- From: Fabrizio Nahum [mailto:[EMAIL PROTECTED] Sent: 04 August 2004 12:03 To: 313@hyperreal.org Subject: Re: (313) 313 Tenth Anniversary Party not true..i wrote i hope i can make it! :P fab - Original Message - From: Brendan Nelson [EMAIL PROTECTED] To: 313@hyperreal.org Sent: Wednesday, August 04, 2004 1:02 PM Subject: RE: (313) 313 Tenth Anniversary Party The funny thing is, the party itself has generated no traffic aside from my original notice about it.
RE: (313) LD/313 Party Pics
Here are a few IDs for anyone who wants to put some names to faces: http://www.non-stop-djs.com/imgs/boatparty/0012-guy_on_decks.JPG - Guy Thackeray http://www.non-stop-djs.com/imgs/boatparty/0022-orang_nicole_2.JPG - Nicole Slavin and Robert Taylor http://www.non-stop-djs.com/imgs/boatparty/0023-ryan_dj.JPG - Ryan Blackman http://www.non-stop-djs.com/imgs/boatparty/0031-julian.JPG - Kiddyraver (aka Julian from Paris) http://www.non-stop-djs.com/imgs/boatparty/0033-suzy_anya.JPG - Anya Stang (on the right) http://www.xstation.co.uk/Boatparty/DSCF0009.JPG - errr... this is me, unfortunately http://www.xstation.co.uk/Boatparty/DSCF0012.JPG - Dan Butler Brendan -Original Message- From: Martin Dust [mailto:[EMAIL PROTECTED] Sent: 03 August 2004 15:18 To: diana potts Cc: 313 Detroit Subject: Re: (313) LD/313 Party Pics I thought about it D, like for 23 seconds and then sat back down - I'm still broken. On 3 Aug 2004, at 15:07, diana potts wrote: very nice pictures...I felt like I was there. is it possible to get some ID's on them?...I recognize Mr.Watkins and Mr.Dust...any other 313'ers that can be spotted? with my eyepatch on. d --- Toby Frith [EMAIL PROTECTED] wrote: top marks to Mr Thackeray for some quality outfit and beardage. -Original Message- From: Martin Dust [mailto:[EMAIL PROTECTED] Sent: 03 August 2004 14:48 To: 313 Detroit Subject: (313) LD/313 Party Pics http://www.littledetroit.net/Party/1 http://www.littledetroit.net/Party/2 http://www.littledetroit.net/Party/3 http://www.non-stop-djs.com/imgs/boatparty http://www.xstation.co.uk/Boatparty/photos.html Cheers martin __ Do you Yahoo!? Yahoo! Mail - 50x more storage than other providers! http://promotions.yahoo.com/new_mail
RE: (313) Arne Weinberg limited 7
This is sounding really nice - I heard some snippets of it the other day. Possibly my favourite work of Arne's so far, and well worth pre-ordering, IMHO (didn't know there were only 300 copies!)... Brendan -Original Message- From: kj at technotourist dot org [mailto:[EMAIL PROTECTED] Sent: 03 August 2004 15:28 To: 313 Mailinglist List Subject: (313) Arne Weinberg limited 7 Check: There will be a strictly limited to 300 copies 7 release available in early september from Arne Weinberg called Spectral disease. Only available in selected stores and directly through the homepage. Check it out here: http://www.arneweinberg.de Pre-orders through e-mail are welcome! (not mine but Arne's e-mail of course :)) KJ
(313) 313 Tenth Anniversary Party
Back in September 1994, when there wasn't much to the internet apart from Usenet and email, the mailing lists run from hyperreal.org were pretty much the only way to gather information about the world of electronic music. And when 313 was launched in that month, it became the only internet resource dedicated to discussing Detroit techno, the music it was influenced by, and the music it went on to influence. Ten years on, and everything has changed. There are now a tonne of forums, mailing lists, newsgroups, blogs and websites covering our music; but, although it's had its detractors over the years, the 313 list has managed to survive, bringing together hundreds of like-minded individuals across the world. The first ever post to 313 - from Morgan Geist, in fact - was on 30th September 1994, and so we're holding a party to celebrate on Saturday 18th September 2004. The party will be held at Public Life, in London's Spitalfields district - a venue that many of you will already be familiar with! DJs on the night have yet to be confirmed, so if you're up for doing a set send me an email. And if you have any ideas which might help us make the night a bit special, then let me know. In Morgan's first post, he said hope 313 thrives - I think we can safely say that it has! Brendan
RE: (313) 313 Tenth Anniversary Party
The list is about Detroit techno, was originally served from a university network in Texas and has contributors from all over the world. If a group of listmembers in Bishkek held some sort of gathering or meetup I think it would be unreasonable for anyone to object, or to expect them to find the cash to actually travel to Detroit. While Detroit is of course an ideal location, it's a bit difficult for anyone outside the city to organise anything there. So unfortunately I have no control over whether a party takes place in Detroit or not - but yes, I think it would be good if someone organised one. For the record, I emailed a few people in the US about this a few weeks ago, to see if anyone might be able to get something going in Detroit, but that's pretty much all I can do. I see no reason why parties to celebrate ten years of [313] shouldn't take place in every city or town that has more than one [313]er living there, to be honest... Brendan -Original Message- From: Klaas-Jan Jongsma [mailto:[EMAIL PROTECTED] Sent: 02 August 2004 15:34 To: Brendan Nelson Cc: 313@hyperreal.org Subject: Re: (313) 313 Tenth Anniversary Party I think that London is not the place for a 10 years of [313] party. This list is about Detroit techno, so a 10 years of [313] should be held in Detroit and not in London, Amsterdam, Berlin whatever city. We had 5 years of [313] at Science in Detroit. I recon it shouldn't be to hard to throw a party in Detroit about this? KJ On Monday, August 02, 2004, at 03:52PM, Brendan Nelson [EMAIL PROTECTED] wrote: Back in September 1994, when there wasn't much to the internet apart from Usenet and email, the mailing lists run from hyperreal.org were pretty much the only way to gather information about the world of electronic music. And when 313 was launched in that month, it became the only internet resource dedicated to discussing Detroit techno, the music it was influenced by, and the music it went on to influence. Ten years on, and everything has changed. There are now a tonne of forums, mailing lists, newsgroups, blogs and websites covering our music; but, although it's had its detractors over the years, the 313 list has managed to survive, bringing together hundreds of like-minded individuals across the world. The first ever post to 313 - from Morgan Geist, in fact - was on 30th September 1994, and so we're holding a party to celebrate on Saturday 18th September 2004. The party will be held at Public Life, in London's Spitalfields district - a venue that many of you will already be familiar with! DJs on the night have yet to be confirmed, so if you're up for doing a set send me an email. And if you have any ideas which might help us make the night a bit special, then let me know. In Morgan's first post, he said hope 313 thrives - I think we can safely say that it has! Brendan kj at technotourist dot org
RE: (313) 313 Tenth Anniversary Party
Dan Sicko, Matt MacQueen and George Smiley? :) -Original Message- From: Martin Dust [mailto:[EMAIL PROTECTED] Sent: 02 August 2004 15:58 To: Brendan Nelson; [EMAIL PROTECTED] Cc: 313@hyperreal.org Subject: Re: (313) 313 Tenth Anniversary Party I'm only coming if the Big Three turn up :)
RE: (313) 313 Tenth Anniversary Party
Yes, but ISTR that when 313 actually started out, it was coming from uta.edu before being adopted by Hyperreal... my memory is a bit foggy though! Brendan -Original Message- From: Hans Veneman [mailto:[EMAIL PROTECTED] Sent: 02 August 2004 15:58 To: [EMAIL PROTECTED] Cc: Brendan Nelson; 313@hyperreal.org Subject: Re: (313) 313 Tenth Anniversary Party On Mon, Aug 02, 2004 at 09:47:53AM -0500, [EMAIL PROTECTED] wrote: The list is about Detroit techno, was originally served from a university network in Texas Then TEXAS it is!! let's go and have a party in the university's computer lab - who's with me? Wasn't Hyperreal actually techno.stanford.edu? Hans -- Hans Veneman http://technotourist.org http://vlokfeest.net
(313) test
Sorry about this...
(313) [UK] Boat party info
Here are the set times for this Saturday's 313 / Little Detroit boat party. If you're after any tickets (or information generally), go to www.littledetroit.net/Party or contact me offlist. Pub sets 7pm-8pm Jon Hawken (Prescience) 8pm-9pm Bionika (Dust) 9pm-10pmDub Kult (Arcola/Raum/Dust Science) 10pm-11pm Nick Craddock (Freelance) Boat - Room 1 - Above Deck 12am-1amNon Stop DJs (Non Stop Recordings, Flashpoint, WIDE) 1am-2am Dan Butler (313) 2am-3am Ian Orto (Dust) 3am-4am Ryan Blackman (Locked Grooves) 4am-5am Nick Wilson (Inceptive/Continual) 5am-6am Stewart Lowman vs Hazell (Outlet Collective) Boat - Room 2 - Below Deck 12am-1amRick Hopkins vs Jak Jebouti (Outlet Collective) 1am-2am Tristan Watkins (Freelance) 2am-3am Matt O'Brien (Filthy Pixels) 3am-4am Pete Mangalore (Human Shield) 4am-5am Dask (Rebel Intelligence) 5am-6am Agent 2 (Rebel Intelligence) Apologies to non-UK 313ers for the waste of bandwidth! Brendan
RE: (313) miss kitten ?
It was absorbed into the mainstream and is now used in adverts for Wella hairspray. -Original Message- From: Robert Taylor [mailto:[EMAIL PROTECTED] Sent: 22 July 2004 15:10 To: matrix313; 313@hyperreal.org Subject: RE: (313) miss kitten ? The magazines that covered it all went bust and it disappeared up its own arse -Original Message- From: matrix313 [mailto:[EMAIL PROTECTED] Sent: Thursday, July 22, 2004 1:09 PM To: 313@hyperreal.org Subject: Re: (313) miss kitten ? so. whatever happened to Electroclash?
RE: (313) Old micro-genres (Was Re: (313) Se xtronica©)
I remember Alex Bond - a music industry insider in Manchester - was a bit of a cheerleader for the genre, and was pretty much to Sextronica what Neil Rushton was to techno. Can't remember any other Sextronica producers though. I'm feeling really nostalgic now for those days, when everything seemed so new and fresh. Things just haven't been the same since 4.15pm, have they? Brendan -Original Message- From: Ian Malbon [mailto:[EMAIL PROTECTED] Sent: 22 July 2004 16:13 To: 313 List Subject: (313) Old micro-genres (Was Re: (313) Sextronica©) Any of you good people remember Sextronica? It was a mid-2004 micro-genre that covered Detroit techno, db, and hip-hop with triple doses of smoov-ness. Shortest genre ever, but nice while it lasted. I think Sean Deason was associated with it, was there anyone else? -- ian
RE: (313) Some Hot Tracks
I have to admit, I've gone a little bit rustic in the last few weeks and have been sucked back into the world of Every Man And Woman Is A Star by Ultramarine, sleazing it up with I Want You by Marvin Gaye and gazing at my shoes to the sounds of Loveless by My Bloody Valentine... I even did an *ambient* mix last week, weirdly enough, with Ralph Hildenbeutel, Global Communication, Koh Tao and Space featuring quite prominently. On the 313 tip, though, I've been going back to some old gems such as French by Ludovic Navarre (can't really get enough of that at the moment), Un Deux Trois and Drexciya's Journey Home EP... I really need to get hold of some new records, I think! Brendan -Original Message- From: robin [mailto:[EMAIL PROTECTED] Sent: 29 June 2004 11:52 To: 313 Subject: (313) Some Hot Tracks ok what are people listening to at the moment?
RE: (313) 303 and an opinion
-Original Message- From: Matt MacQueen [mailto:[EMAIL PROTECTED] Sent: 23 June 2004 17:24 On Jun 23, 2004, at 11:14 AM, Neil Wiernik wrote: like I said Im not the biggest fan of acid any thing... fair enough... but rather I do see the merit in exposing new generations of DJs and party-goers to the very foundations of a lot of house and techno that came from kids twisting 303's back in Chicago in the 80s. I agree - without any knowledge of the foundations of this music, people are much more likely to end up thinking that this hard house impostor dj bam bam is *the* Bam Bam, that sort of thing. And we can't have that now, can we? :) Brendan
RE: (313) Glasgow
It might be that sound guys/girls hear the Basic Channel tracks and think hmmm, that's a bit muddy, thus completely missing the point? It's an unusual and distinctive sound, and familiar enough to a lot of us, but I can imagine a lot of sound engineers hearing it and thinking hmmm, I need to do a bit of work here... Brendan -Original Message- From: Paul Kendrick [mailto:[EMAIL PROTECTED] Sent: 15 June 2004 11:42 To: Tom Churchill; David Beattie; 313 Subject: RE: (313) Glasgow That's strange, because we (outlet) had the same problem when we put Scion on in London, the sound guy was a dick and kept playing with the EQs... May be Scion have this problem a lot?
RE: (313) 'Moodyman': 'The Bootleg Is Broken'
-Original Message- From: [EMAIL PROTECTED] And then to have KDJ EXPECT - meaning to consider reasonable or due... A bit of a semantic sidepoint here, but to expect something is going to happen isn't the same as accepting that the coming event is reasonable or justifiable. For example, I might wander around the streets of Brixton with an iPod held in my right hand, talking distractedly into a posh mobile phone held in my left. In that sort of situation, I might (well, I *would*) expect to get mugged. But that doesn't mean that I think the mugging is a reasonable or justifiable act. If there was an analogy here, it would probably be this: a university lecturer asks her politics class to hold a discussion around the question what caused September 11th?; half the class storm out enraged, claiming that she's an Al-Qaeda supporter who should be locked up... Brendan
