Wednesday, September 22, 2004

crikey

Friday, September 17, 2004

oh and before I forget:

Ricardo Villalobos
thé au harem d'archimède
(Perlon)
release October 11

3x12" / CD

perlon43/perlon43cd

tracklisting:3x12"

A1. hireklon
B1. serpentin
B2. forallseasons
C1. théorème d'archimède
C2. hello halo
D1. temenarc 1
D2. temenarc 2
E1. miami
E2. stereobox
F1. true to myself

tracklisting: CD

1. hireklon
2. serpentin
3. forallseasons
4. théorème d'archimède
5. hello halo
6. temenarc 2
7. temenarc 1
8. miami
9. true to myself



Plus, heard new Vitalic 12"!!! Live sounding disco-rock drums, hard to make out Teutonic vocals, stomping glam-ness guitars, and then this stunning sparkling middle section, a kind of abused prettyness to it, tugging glamourous heartstrings with big minor 3rd chord shifts. Huge.

worst haircut ever

many sleepness nights caused by the clash of this:

AMµNITION
Sept 17 LONDON, Electrowerx

ROOM 1: ELECTRONIC
Jega (live)
Leafcutter John (live)
Datach'i (live)
The Gasman (live)
Chevron (live)
Julian Fane (live)
Ed Lawes (live)

ROOM 2: JUNGLE & BREAKCORE
Remarc (DJ)
Luke Vibert (DJ)
µ-Ziq (live)
Venetian Snares (live)
Bizzy B (DJ)
Shitmat (live)
Exile (live)
10pm - 6am

and this:

FRIDAY 17TH SEPTEMBER : HAYWIRE 9th BIRTHDAY SESSION @ ROUGE
room one: techno:glitch
RICHIE HAWTIN [m-nus]
MATHEW JONSON - LIVE [Itiswhatitis/Minus/Perlon]
ANDREW WEATHERALL [RGC/Warp]
MAGDA [m-nus]
Visuals by Pixelpasta
room two : electro:hiphop:techstep:d'n'b
DEAD SILENCE SYNDICATE - LIVE [Dead Silence]
RADIOACTIVE MAN [RGC/Control Tower]
WARLOCK [Rag & Bone]
SPA CRU [Freeport]
RICK HOPKINS [Outlet]
Visuals by Julia
11pm - 6am


I decided to plump for Hawtin/Magda/Jonson/Weatherall/Warlock. I may well be a mug for passing over the Bizzy B/ Remarc feast of killer amens, but I refuse to line that Venetian Snares character's pockets any longer. Besides Richie's M_nus Records is on ridiculously good form, and any chance to hear whats coming up from them is well worth my time. On the other hand everyone at the Planet Mu night will have a better haircut than Hawtin's current Phil Oakey meets Gareth Keenan in the Village of the Damned thing. So so wrong.

Thursday, September 16, 2004

just another quick thought on blinded by the lights: Comparing it to Weak become heroes is such a great e-burnout parallel. The mood in blinded' is so much darker, more intense ('i'm having such a great time' to 'i'm totally fucked'), and the music follows (encouraging, happy pianos to chastising cold synths). Even if there is a kind of seductive artificiality to the scene in Weak become heroes, it's so much more attractive than the kind of club in Blinded by the Lights. I've been listening to the slightly cheese Soul Central version of Strings of Life, and even though it's all super smooth bongo-and-reverse-cymbals production and has a dreadful/genius tinkly piano show-off, I maybe kind of slightly just prefer it to the original and the real ale misty eyed reverence that goes with it; but it seems a similar attitude those boring stern chords and serious intoxication in Blinded versus the optimism and pre-jading fun depicted in Weak Become heroes. I shall now cower in wait until the techno heavies come and kneecap me with a 909 cowbell...

Tuesday, September 14, 2004

currently stuck on

The Streets 'Blinded by the lights'
a scarily accurate anti-superclub protest song. During a night out you see so many silent people sporting that blank anhedonic look; absolutely not having the time of their life. Reminds me of weary families trudging round a theme park, their pleasure at the mercy some big money contraption. I love the way those big serous chords, those stern module strings darting around the mix like the waking rapid eye movement of the truly fucked, are kind of obscured by the closeness of the monologue. The music is drowned out by his anxiety and also drowns itself out in it's complete non-descript forgetability, just a general air of authority. Those big e-rush sweeping filter effects perfect to signify his coming up, that quiet vulnerable point when the synths lose their cutting edge, 'maybe i shouldn't have done the second one...BUT even though the kind of big room anthemic prog mulch that this song parodies is dull at best and cynical manipulation at worst, i still can't stop loving...

Goldtrix feat Andrea Brown 'Trippin'
If only all that Sasha and Digweed tedium was as restrained and careful as this. There's still the sternness, and the filtered build up beginning (just like Blinded By the Lights) but instead of the uncomfortable intimacy, it's tense and throbbing and sexy. Her voice is amazing, chesty and authoritative, leaping out of the broad dry landscape provided by the synths. I'd love to know what she looks like but I'd probably be disappointed

DJing!
I've recently learnt The Big Secret of the DJ; *whisper it* mixing is a complete piece of piss and wicked fun. It's just getting one record to the right speed - cut an eq that you wish to bring in on the other record - bring it in slowly - adjust a bit - ironic spinback - plug headphones into the mic jack - shout something. Done... You would never realise it by the look on some of their faces. If only I'd known this when I used to think that every tweak of an irrelevant knob was another piece of subtle genius.

sorry for unscheduled break.
thanks to simon silverdollar for the tapes they're large! will report back soon

Saturday, September 04, 2004

I'm now into my third day of my pre-return-to-university jogging regime, making this my most successful campaign yet. when i'm fully into my stride i notice my grunts and wheezes allign themselves into a schaffel rhythm...anyone interested in signing up my trachea?

Wednesday, September 01, 2004

What is that cack cover of Thomas Bangalter and DJ Falcon's 'Call On Me' that seems ready to storm the charts? Absolute rubbish, this new version. horrible horrible horrible.
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For something that could be such an easily exploitable 'institution', the Notting Hill Carnival is wicked. My first time at carnival (it's never 'the carnival' is it?) on monday, and with a cool bag full of booze I had a great time. Loving hearing the dancehall buff-buff-tish make it's way slowly through the crowd, watching the audience gradually catch on to another tune, another rhythmic code as the soundsystem lorry rolls towards them.

One tune we heard wafting (like so many other benevolent clouds at carnival) over from some outskirts soundsystem was 'Hey Ya' reversioned as 'Ganja'. I'd love to get a copy of this. The dancehall they were playing around the edges was more dubbed and spacey, more swinging and swaying than the rigorous demands of some of the bigger systems. That dancehall beat, the boom-boom on the first beat and between the second and third really must rival the 4/4 in terms of absolute funk purity, the minimum foundations needed to move a crowd. Hidden in it's two booms is the most obvious lesson in syncopation; 'this is on the beat, and this is off the beat'. It's interesting how peoples' conditioning to and experience of certain rhythms affects their taste, and how they react to music aimed at people with different rhythmic knowledge , such as my reaction to single handclap snares on Lil Jon productions, or that period when rock fans got into big beat's big beats (possibly longer post on this to come).

Loads of soca too. I don't know much about soca (or dancehall for that matter), but it seems kind of loose and calypso-y, more the dressing up and parading side of carnival you see in the papers, than the heaving crowds around perilous speaker stacks side, where a tune's 'bigness' can be easily deduced by how much forward crowd momentum it causes.

Best bit, I think, was at 10:30 in the evening, watching the soundsystems drive away up the road, still pumping out the anthems, followed by acres of people walking and dancing along behind them. I wonder where they ended up? In my romantic imagination another carnival, and then another and another until eventually they got back to Notting Hill next year, still playing and dancing and lost in the music. They must not move carnival to hyde park. It would just be some dreary sit down and hear some awful 'main stage' playing ignorable dross type event that passes for en masse celebration these days. Holding it in residential streets makes it noticably removed from the ordinary, (seeing the mundane changed as the carnival is molded around it; bus stops and signs as vantage points, doorways as off licences, the unkind would say driveways as toilets) but this is what makes it seem like a celebration, an open party, rather than some meticulously organised money-spinning 'event'. Long may it remain.
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I think i should apologise for my part in the recent outbreak of stupidity in the comments section. I was really angry about the comments at the time (and that moment in time was not particularly easy for various reasons), but i now realise I was just being trolled and wound up, and my flying off the handle makes me look a little silly. I shall try to keep my pottymouth to myself.

Sunday, August 29, 2004

I reckon Gloucestershire's success is to blame for England current shiteness at one-day cricket. England are blatantly following Glouc's allrounders galore model, but it doesn't work when the opposition is world-class.
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Phat waxness! In the space of two days I've recieved Vitalic 'Poney ep' and Quarks/Superpitcher'I walk'/'Fieber'. Even though I've heard these tunes like, dozens of times, I was still bouncing round my room thrilled at 8:30am when they arrived. Probably something about physically having them, mentally assigning a smell, a texture, being able to touch 'Fieber'. Oh my God 'La Rock01' still sounds scorching white hot, a careering space shuttle burning up on re-entry, it's paint blistering, just managing to stay intact. I should have just stuck this on when the host's wanker step-brother told us to 'stop playing that noise' at a party on friday. In an eighties film, he would have been thrown across the room by sheer force of tunes. In reality he threatened to have us chucked out, and we didn't force the issue.