Following on from the Dirty Larry post yesterday, I couldn’t leave you without this gem. Those keeping a finger on the edit pulse may remember Pete Herbert and Dicky Trisco’s edit of Young & Company’s ‘I Like It (What You’re Doing To Me) from around this time last year released as Disco Deviance 16. As consistent a label as Disco Deviance may be, I could never bring myself to play that edit over Dimitri’s. Instead I self indulgently blended the two together, creating some sort of extended disco monster. When I’d finally decided that this was probably too much for the poor dancefloor, I reigned myself in and packed Dim’s version alone, and today I’m sharing it with you.
Here’s an italo classic that predated the mash up scene by a good 20 years. Two covers of two 80’s classics merged together for full on cheese and sleaze appeal, the synths have that authentic period feel to drive this underground track along… wait, who are we kidding, this guilty pleasure is real deal pop made especially for Mediterranean discos and the smell of aftersun. Enjoy stupidly…
Some erudite and talented friends of ours run a cultural dispatch called Kollektivnye. They write interesting articles on modern media, music and the arts, take excellent photos of places you wish you’d been to and are generally an interesting bunch. A couple of weeks ago they asked us to provide the inaugural effort in their new mix series, and this was the fruit of that labour. You’ll recognise a number of the tracks from recent features on here, along with a smattering of old and new records and one record subject to water damage on the label that i have failed to identify. Use this mix as a soundtrack to explore the excellent Kollektivnye website.
Here’s some top notch Faze Action action from a few years ago. Despite being one of the stand out tracks on the superb Lindstrøm and Prins Thomas essential mix this one somehow managed to more or less fly under the radar. Surprising since it is a soaring piece of interstellar disco replete with all manner of spaceship swooshes, lazers and synth gurgles. The duo’s trademark string arrangements perch on top of a driving beat and bouncy bassline while some futuristic synth melodies and star trek whistles take you to a dancefloor far far away. As well as being released on this 12″ you can find this and other intergalactic delights (including ‘I Wanna Dancer’) on the 2009 ‘Stratus Energy’ Cd.
Since 2009 On The Prowl have given the gift of beautiful music to the world in the form of original productions from such artists as Runaway, Corinne and Andy Ash. The label is run by Jacques Renault and Marcos Cabral, two disco cats with a number of strong solo releases under their belts on labels such as Private Release, RVNG, and Trapez LTD, who join forces as Runaway to explore the space around the DFA spectrum’s continuation of the disco-not-disco side of things.
Last year they created On The Prowl’s Party Breaks offshoot as a platform to release some of the most exciting edits in recent times. Each release in this series is well worth investigation, especially the Marcos Cabral & Shux edit of ‘Club Lonely’ by Lil Louis found on edition number one, and Jacques Renault’s storming Love & Happiness off number two.
This track comes from the most recent instalment in the series, and is a extension, expansion and general bettering of Simphonia’s ‘It Ain’t Right’. Cabral gifts us a proper mid tempo proto house work out with a solid bass sound, understated jack in the percussion, boogie synths and glorious pianos. Not to mention the original’s excellent vocals, which are expertly treated, layered, shifted for full on hands in the air dancefloor power.
You can collect the whole set from Juno, and if you’re a vinyl lover, you will not regret it. For those yet to be convinced, here’s a limited download of this beauty.
what has Bomb the Bass got to do with Facebook? More than I thought. Nine Inch Nails’ Trent Reznor joined forces with mid 1990s Bomb the Bass’ programmer Atticus Ross in order to compose a mind-blowing soundtrack. Atticus aided significantly Tim Simenon in producing the superb album ‘Clear’ adding that slightly eerie and dark touch overall to it.
the facebook narrative present in The Social Network is heightened in its headlong tension by Reznor and Ross significantly. the soundtrack does not overcome the film. It does not impose itself over the picture. It just accompanies it and betters the film itself. Just doing what a soundtrack must do. Taking a step back, and accommodating the story. some would say that is simple, minimal or just not deserving an oscar. quite true, but overall stormer dancefloor tracks like ‘in motion‘ or poppy beauties like ‘Creep‘ or the numerous ambient moments with simple yet harrowing piano notes create a unique atmosphere that greatly combines mystery, darkness and originality. Many critics and fans have put emphasis on Trent Reznor’s musical abilities as soundtrack composer. But what about our man from England, Mr Ross? Well here you have couple of links that shows you how similar in its form and idea is what he made in 1995 along Simenon and what is one of the standout tracks for me in this essential work of art.
At last the English version (and paperback, synonym of affordability) is hitting some specialized online shops like the innnervisions one. It seems this book has something to unveil regarding the reasons why Berlin became the centre of the techno scene, and pill popping raves with meccas like Berghain becoming weekend temples for hordes of youths from many points in the world.
It sounds like an interesting reading to me. This book by Tobias Rapp, was published only in German a year or two ago, but it has been translated to English now, and more importantly as paperback. Here you have a good briefing of what you will discover if you get. Extracted from the innervisions website:
Almost everyone in the world knows someone who has flown to the German capital in recent years and proudly returned with bizarre stories of previously unimagined highs at endless techno parties at Berghain, Watergate or Tresor. All these stories contain a grain of truth. But many questions remain unanswered: Why is it that thousands of clubbing tourists land at Berlin Schönefeld airport every weekend? Why have clubs like Berghain become the stuff of legend the world over? Why have some of the best-known producers and techno DJs like Richie Hawtin and DJ Hell moved with their labels to this city? These are the kind of questions explored in Lost and Sound by Tobias Rapp, a German music journalist who has been living, working and partying in Berlin since the beginning of the nineties. He has spoken with DJs, clubbers, label bosses, hostel managers and urban planners; he has looked and listened carefully; and most important of all, he has been part of the dance floor himself. Following its publication in Germany in February 2009, Lost and Sound made an impact not seen from a book about popular music for a long time. Originally published by the renowned Suhrkamp Verlag, which also manages the works of Brecht, Adorno and Benjamin, the book almost single-handedly brought techno back into the eyes of the German media. Suddenly everyone wanted to get on board again. In the spring and summer of 2009 all the German daily and weekly papers carried reports on the Berlin party scene. It was around this time that Rapp switched employers. Germany’s best-selling news magazine Der Spiegel appointed him as its new pop music editor a few months ago. As far as music journalism in Germany is concerned, there are few higher rungs on the ladder. Lost and Sound was simply crying out to be translated into English. Aside from the fact that English is the lingua franca of techno culture, the majority of the people that this book is about – producers, DJs, tourists – hardly speak German. But these are the people responsible for the altogether more pleasant associations Berlin now triggers – after ‘Hitler’s city’ and ‘the walled city’ comes ‘the party city’. It is these people who cultivate Berlin’s spirit of excess, along with the other groups which make up the Berlin clubbing demographic: the gay community, the East Germans (known as ‘Ossis’) and the offspring of middle-class West Germans. It is they who roam Berlin’s new club mile, from Schlesisches Tor to Alexanderplatz, turning night into day and day back into night. And it is they who have prompted some local journalists to speak of Berlin as a kind of a metropolitan Ibiza, a party Mecca on constant overdrive on the banks of the Spree. But Ibiza is a wholly inappropriate point of reference. As Rapp shows in Lost and Sound, the mechanisms of commercialisation and displacement which have long-since turned the Spanish island into a tourist nightmare have made little mark on Berlin. Fortunately, it has retained an indomitable spirit of creative cooperation and coexistence. The city still has great pulling power. Anyone who reads Lost and Sound will feel the same compulsion to hop on a plane and join Berlin – as Rapp did – for a week of raving.
Get it at http://www.mutingthenoise.com
well well well… it was time to meet the heroes, the idols, the superstars… oh dreamers, it is such an ecstatic point in life when you finally can see them live in front of you, subdued to a bunch of deeply thought questions you have been formulating for months. it is that tete a tete, that moment that will be with you forever. I had the pleasure and the honour of interviewing this guy… moodymann when he was about to board a plane to who knows where. anyway… i got it here for you…very deep, very philosophical, very introspective, very moody.
Yo Moody, how is it that your music is full of meaning, substance, essence? What message are you trying to convey to your audience?
— That’s a good question. Next one please.
You are making a good profit out of using samples from other musicians, gospel chants and priests tirades. How do you feel about it? Would you say your music is truly original?
Are you against music piracy? Or do you believe people like me have the self-entitlement to offer other people’s music for free under the banner of promoting it?
— My music has a price you midget. I have to pay my bills and buy sound equipment regularly, and it ain’t come cheap so people like you should be put behind bars, prick.
I am not making a profit though, I am just helping others discover your aural gems… Don’t you agree?
— F**k off.
You sometimes make references to inequality and poverty injected by whites into the hoods of Detroit and the US in general… I sense some tension between you and the white man, don’t you think Obama has levelled things a bit?
— What an ignorant dude you seem to be. Waste of time. I’m out.
Tell us about your next release on your label Mobilee.
Can I have one of your vinyls you played?
— Get lost and do not dare to publish this shit. Shame on you.
Well, that’s that. I love Moodymann’s music and guess you do too… buy some of his music. You will not be disappointed and he will be able to pay his bills.
To show Moody that I am not a mutha f cker leecher, here is some link to his new 12″… The Juan Atkins remix is pretty rubbishy but the egyptian lover one is to die for!) Sometimes big fishes do not deliver. there you go.
chicago house music dj and superb producer left us today victim of cancer. i don’t have much of him but this remix he did for underground resistance back in 2001 summarizes his refined skills as a musician. rest in peace.