octo octa and eris drew hanging out in NH woods sounds like a dream
i am tired
before 1AM this time
gotta get on a normal schedule -- or, make a non-productive but time consuming day of work less of the norm
Was listening to 'Ode to Boy' and figured I should listen to something else by Yaz. This is on the same 'best of' compilation, and I know that I've heard this baseline before, but it's stumping me. It is normally played -- with more urgency. Take from 0:34 - 1:00 (it repeats a few times, but this is the snippet). No information on whosampled.com. is this a cover? I would be surprised, it's from 1983, and it doesn't make sense that, in 83, they would toned down a baseline used in an earlier song.
Coincidentally, today I confirmed that the screaming mummy from that meme is the scream from 'Guillotine' by Death Grips. I thought it the first time but never confirmed, and I messaged Jane (I had discussed this video with her) to see if she had the video anywhere/ knew where it was posted, and she had it saved. It is the same. I think most people who liked Death Grips at some point would make that connection, but - just confirms that I'm not always off base with the 'this sounds so familiar'-ing.
But there was also that hunt when I was absolutely certain that MBV had played an homage (equivalent of sampling I guess) to Led Zeppelin's "Rain Song" (the string part here at 1:35 - https://www.youtube.com/watch?v=TRt4hQs3nH0 ) on Loveless. I listened to Loveless so many times to pin it down, but I think I was just hearing things.
This Yaz song is fine, but I am interested more in if I'm nuts with that baseline. 'Ode to Boy' much better.
This is a fine song.
What the shrek is happening in Portland?
This whole dang thread https://twitter.com/MrOlmos/status/1285095836339200000
How is this constitutional?
Watching these videos feels like -- a childhood injustice where it doesn't matter because child and perceived as child, unable to challenge the power. The injustice here! And the fact that it is just going to get spun as necessary because the protests were already out of hand. How -- how -- how -- how -- how can someone look at this, and say that the protestors had it coming, or that the protests are stoking the flames, or misguided, or stupid? I've seen talk like this on Twitter comments sections and Twitter and it just blows my mind. It blows my mind. It's a military invasion of a city ----- that in itself is worthy of protest, which is to say nothing of Floyd and the general pursuit of justice and BLM.
Another reflection is --- Portland? Of all places? I'm a little impressed by the gusto of that city tonight. The videos of the mothers in helmets at the front lines in particular. All of this is making the bogeyman of antifa real and organized and powerful. Literally anti-fascist. But these troops will not leave unless court ordered. Would Trump ever back down from this? Would Portland? Will the state have to broker some sort of peace to get the fed agents out? If the 2nd amendment surrounding oregonians move in, and escalate with citizen gunfire, what then? Or, if someone takes fire on the federal agents, and hellfire returns in kind? Or -- if the movement as a whole becomes generally antifascist and in doing so deflects the momentum that BLM had for white accountability, and this devolves into the same old trope of people versus the government. The trope where is orange man was not in power that everything would be OK. Obviously, orange man is terrible, especially now -- but that's not what this started out to be about. It was institutional. It WAS criticizing the states, and the local budgets, and our neighbors, and mine own mind. And now it's just orange man and The State. that is dissapointing.
And these agents are going to be occupying additional cities? This cannot be legal.
Tonstartssbandht always gets me in a meditative space. I've listened to An When more than most albums. I was listening to Ra Wah Wah by the Psychic Ills (it is on my 'Fantasy DJ Set' playlist, which --- will likely remain just that) and it gets me in a similar way. Surprisingly, though, the Psychic Ills are not signed to Sacred Bones! -- Either way, Ra Wah Wah got me thinking of Ton, and it turns out they have a new track. It has piano, which is something new. But it doesn't do much besides that. I don't think anything from them will ever come close to An When for me. The famiar envelope of that whole album. But! It is nice to see that they are making stuff. I wonder what they are thinking about Portland.
Back after 30 days of no-streak to sticky-note the passage of time with -- u guessed it -- a PT song. This is off of his 'Hyperextension: The Complete PT Remixes, Vol. 1 ( https://allergyseason.bandcamp.com/album/hyperextension-the-complete-physical-therapy-remixes-vol-1 ) which was released 5/1/20, but this song is dated 2011. I went down a bit of a link hole for a bit, but it's 12:30, so condensing this into sections:
What is 3 step? - I would normally think of a Waltz. 3 beats? I watched a video where a man explains triple step ( https://www.youtube.com/watch?v=uJv5yatKRHU ) , and I tried to do it along to this song (for too long) -- it doesn't feel right at all for this beat. is that just because I am very bad at moving my feet to a rhythm (now that I reflect on this, I do rely a lot on my hands when i dance...) or is 3-step referring to something else? this just feels like a break throughout the song, but isn't this otherwise 4/4? (A hole I am not going down now, but this YT video has a very strange image on the downbeat for -- what it seems to be a video to teach kids how to count time? https://www.youtube.com/watch?v=LNJAY0OO_Kc ) -- what does on top and on bottom mean again? ( https://www.libertyparkmusic.com/musical-time-signatures/) ----- OK - this video was a better explanation ( https://www.youtube.com/watch?v=khc5opi5LvA ) - it's just 1-and-2. Is there a scoop out of my brain where this is supposed to make sense? no more.
queer connections - I couldn't find any good interview about this track in particular from PT. I found an old uh - announcement? review? of the release from 2011. The review says nothing: "Physical Therapy makes Siinai a new 3-step 'Anthem'
God, the weather is beautiful lately. Windows get thrown open, shirts come off, remixes get dropped. Remixes like this gorgeous new 3-step remix by Physical Therapy. The New Jersey-based producer, always one of our favorites, reworks Finnish band Siinai’s single from last year’s Olympic Games LP into a reverb-heavy gem that sparkles like sunlight. Take off your clothes, lay by the pool, and sip some caipirinhas while you jam this one. Like a damn pimp. [emphasis mine -- like a damn pimp? oh, uh -- yeah, i guess this review otherwise says the same thing that i say: this is nice song for summer. OK.]
But - I did start reading (another) interview with PT -- http://truantsblog.com/2019/interview-physical-therapy/
He was roommates in college with Mykki Blanco and "'apprenticed' under Arca. He's obviously queer friendly (given honcho) but the queer influence on his early experience with learning and experiencing dance music adds a nice layer. Also, that interview is on a whole good. Mentions a cover of You Oughta Know, which i found on YT here - https://www.youtube.com/watch?v=2xAtbLf_Fow&list=PLDACC76B3FF81D2A0&index=9&t=0s - and will probably use on another post. It's not good, but his devotion to digging is. Mm.
pt blog' - lol neat https://raremp3s.home.blog/author/physicaltherapy1988/ - not much happening on here but noting to self to revisit.
oh yeah the review - How many songs could fit under the banner of songs for a warm summer night? Is it just that I'm back in Austin, currently with windows open to a breeze that is too hot for 1AM, that I've been using 'warn summer night' so liberally? Or -- Maybe, the proto-warm summernight w/r/t dance music is "brenda" by Ara Koufax, played for me and will by Virat at honcho year 2. this music has the same somewhat spirtual quality to it as that song -- so maybe that is where the association is from? The consistent strumming one note and the reverb voice would come off as religious on its own, and the break throughout (the.. erm.. three step...............) gives it a directionality. like, you want to move your wrist in the way that you say "speed it up" around in circles with your palm facing yourself, hand parallal to torso -- but also want to tilt your head up and way for the rapture. it rolls through, it rolls through. directionality with no urgency nor any terrestrial destination. and thats what summer is all about of course
also here is a nice video about the amen break - https://www.youtube.com/watch?v=5SaFTm2bcac - which is a video of an art exhibit of a record / dub plate (which deteriorates after some listens) giving a lecture. 6.7 mil views, uploaded 2006. 14 years ago? yikes
I found an error on Spotify - this track is on 'Anthem 1&2' by Siinai, but the original is the PT remix, and the one billed as the PT remix is the original. I googled how to report to spotify, but it sounds like the label has to provide corrections for music (which makes sense -- the hell of having phish ppl trying to 'correct' every song or album listing in spotify)
i want more songs like this - mmmmm
I stopped work "early" and made that gin drink. Most excited I've been in a while to Listen To Music, and just giddily have been browsing youtube, while looking through bill brewster's bible. i went to the back, where it has the club charts, and flipped to Shoom -- Shoom has come up a lot, and all the associated acts are ones that get me going. First one on the list of the Shoom 50 (alphabetical order) was this song. I've heard of a guy called gerald w/r/t acid house, but couldn't name a song. now i can, and i'm glad to be able to. Also, I wiki'd, and it loos like he was an early member of 808 state! (it always comes back to 808 state or front 242, huh?)
IN this RBMC interview, gerald talks about the importance of protecting your IP and making sure you get royalties, and the interviewer does not seem very interested, but it's practical and good advice! that part starts around 55 mins. And then at around an hour, the host puts on Pacific highways and asks gerald to talk about the hacienda, sort of fishing for a nice reminiscing over the track, but it seems very distracting during an interview, and gerald pauses a few times. i think the host turns it down a little bit. ( https://www.youtube.com/watch?v=Gz6z7FpbUaE )
Tonight I've been going back into spotify songs i havent listened to in a while, through the lens of CDJ. i have to start downloading music again? it's been so long
:u_1_j << here is a skiing emoji i just made
Still so good (8.5/10)
I listened all day
I will do a new tomorrow
give me my green square though please : )
bah ba dee
bah bah dah
bah ba dee
bah bah dah
pah pah pee
ah ah ahh
keenan orr rocks. he is the one that played 'i miss you' in mexico city, i can't find that set anywhere, which is a serious shame. i stayed in that sweaty backroom for, what, 5 hours? he kept me glued. this is a fun mix.
I think when I went to see a Merle Haggard cover ban in Austin a few years ago -- Evan's mom was visiting and I went to meet them -- I got strange looks for saying "mer-ley."
I am now back in Austin, back on Evan's palmello-bug porch, listening to Merle, and his mom is not here to hear me say Merl-. Or is it George Strait? Or someone else? Who wants to get back to Tulsa, again? I know that it wasn't Bob Willis, because that version is a bit more ....dated.... in its description of just who is picking the cotton. In any case, listening to all of these versions of this song reminds me of driving to work in the Mazda early morning, with Country Standard Time radio show on KOOP, with the callers going "awwww heeere we go now! / ahwwww take her around now" -- which is to say, I've never been to Tulsa, but it's good to be back here. I'm still too young to marry. The Older team of contestants on survivor are 40+; the younger team of contestants are younger than 30.
If you made a web site that I'm typing on, then you know that I can simply never get enough of Donna Lewis' "I Love You Always Forever" lately ( https://www.youtube.com/watch?v=SqdWTeXWvOg ) -- that is a 10! But, what else does she have even? I checked her Spotify, trying to find a diamond in the rough of some of her lesser known songs. Nothing stands out form her original stuff but, lo and behold, she has a cover of another song that I can simply never get enough of and is also a 10! Kate Bush's "Running Up That Hill"!
Unfortunately, this cover was clearly made by a machine that listened to all the songs that happen when a Main Character dies on Grey's Anatomy, and then someone fed it 'running up that hill' and it was a little low on battery so it just spat this out so it could go back to trying to predict the likelihood that Meredith's little sis would make it past season 6 -- the swelling strings, the enveloped production, the whisper, the silence, the swell -- oh man you could back so many teary faces into this. Unfortunately, the tempo of the song doesn't match up perfectly to a heartbeat monitor, as it did with with "Breathe" in what is, without a doubt, one of my favorite television moments of all time. [[[**Speaking of which - if you are reading this, please, please, please watch this clip all the way through. Do not skip around, or hover the mouse for thumbnails. Please just watch this clip. You will not regret it:
https://www.youtube.com/watch?v=UCZU8EAn-sI ** }}} - Um --
Yeah this is a bad song, a bad cover. Would work in a series finale of a medical drama though. It's ok donna, I wasn't expecting anything more, and i will still love you always forever
The set begins with an interview Larry Kramer, about early activism organizing for Act Up! It's a beautiful start -- and hit in a particular place today, drawing the lineage of a society hopping struggle, to struggle, to struggle. It also hits because, thinking of late 80s-90s in queer organizing, thinking of SF, I think of The Stud, which has just closed its SOMA location. They had a farewell Twitch stream tonight, but too much else happening -- including the fact that I was working tonight -- to pay attention. But, further connection, I saw Midland in September 2018 (I had to check my phone for that one -- old text messages; James from Honcho sent me the link -- why was I in San Francisco in September 2018??? I think I went to this show with a coworker at Facebook -- was I in town for work?) -- in any case, it was a night that made me really appreciate what San Francisco has to offer. The Stud is something special (and I remember it being a great, sweaty, shirtless dreamland of a show -- and I remember thinking it was strange to take your shirt off at a bar, even it was a gay bar. Man how that has changed. Shit, am i circuit??)
Brief notes about protest today;
There was a strong critical mass, a strong energy when in the street, destination, chanting, a sense of purpose to it. There were community mics at stops, and, while I couldn't hear most of what was being said (the mics were not nearly loud enough fro the situation), I was still grateful to see (black) voices preaching to the crowd, and not just (a lotta white pp) walking, chanting, walking, a different chant, 'playing' protest (i count myself in that group, for what it's worth). It ended at city hall, where the same two factions from yesterday - the peaceful group who was plugging their instagrams outside of the burrito shop yesterday, and the aggressive group who was challenging the peaceful group to not stand outside of the burrito shop and instead get in the cops' faces at the police station (which, to be fair, was across the street). I appreciate the efforts of the peaceful faction, but their calls for peaceful protest were fairly dismissive (you are wasting your energy; this is not about the police) -- they had the platform they had the stage, but there was not a strong message. I think the strongest message to the crowd was emphasizing the importance of voting in November, as if this is all about Trump vs Biden ("When black people don't vote, we turn red") or something similar. it essentially became a rally for Joe Biden. Again, in favor of peaceful protest, but this -- sort of missed the point. An optimistic, and seemingly productive part, was the crowd kneeling, and chanting for the cops outside the doors of city hall to do the same. They (unsurprisingly) did not.
I came home and watched more on a very tense Twitch, with this Midland set playing in the background. The combination was good. The streams were stressful. A protester / leader in Portland handed a mic to the sergeant over a fence, so they could have a dialog, and get him to agree to demands -- in this way, it was a peaceful protest (like SF faction was trying to maintain) but was still challenging in good ways. Austin stream looked like it had mostly died down.
There is more to write about both this set and the Midland set. I can't place the song that closes out the midland set, and it is frustrating --I know I had it on one of those piles of burned mix CDs. No. What is this song? (Caribou! Niobe! - okay, i can sleep Ok)
skip today; very tired, was falling asleep on couch
protest today - two factions of protest, out-microphoning the other (violence vs non-violence)
home, made frog-shaped load of bread
fish goodbye dinner with housemates
the fish was not good
while watching livestream of what the day's protest turned into
too tired for music listening n writing tonight
I think I could listen to this endlessly. I likely will. This was sampled in Physical Therapy's Honcho set (where else would I find anything?) -- I went to that mix because I checked out El's submission, and knew that 'how it feels' song sounded familiar. 'Tell Me (How It Feels)' closed out that absurdly optimistic set, following a remix of Fergie's Glamorous and a remix, "Flawless," by was The Ones. Listening to the whole set, closed out by these samples, that optimism feels so familiar, but weirdly distant, now. No night is being closed down, in that sense -- summer as we knew it isn't happening this year. Summer is going to be a different kind of break from reality this year; just about everything that could be going wrong in America seems to be, and this summer, I feel some sort of heat around, is going to be different. A bleak break, where something new, finally, will take form. A good new. Washing away of the sins, Or, at least the beach waves coming in. Is that ignorant optimism? It really feels like the hope of community is the only hope that there is right now -- institutions be damned (and yes, institutions are damned). Bernie getting ousted, Coronavirus rising, Amazon surging, and George Floyd being the latest example of completely unchecked racist-fueled human cruelty -- we are either going to be singing about the Baby's Eyes that, innocent upon birth, became part of a harrowed sociopathic man. or Eyes which grew into something, please, something new, some sort of change, out of all of this. The rage has to mean something, this time. Rodney King was almost 30 years ago. That is absurd. the rage has to mean something, this time. Coupled with all the other fires right now -- there has to be something from these flames, and I am feeling more urgency to be a part of making that so than I ever have.
It's fairly late. This hook will not leave my head tonight, not a chance. This is a bad entry. Barely wrote about the song, sorta just blah blah'd. The song is good too. I keep watching the news, I googled "Jacob Frey" shirtless. Some of the speeches that are being made by protesters are so natural and powerful and necessary and insightful and inspiring and enraging. I gotta shut my lappy.
I am in the process of tearing out a house of cards that is three years' worth of legacy logic in zendesk. I am feeling like Neo seeing the Matrix -- everything is making sense in a way that it hasn't the past few times I have tried to do this. This normally feels like any change to the stack -- with all its competing logic and strange ordering and new set of signals for what-means-what that each person who touched this tried to move to --, but it seems so simple tonight. Ripping it all out. baby.
So, I googled best techno songs to HACK to because that is how I am feeling, OK?
Came back with a 1hour mix (screenshot) so i picked a track this track from the tracklist. I guess, yes, this is dubstep and not techno, but this is still fine to work through. I also realize that, while I know what dubstep sounds like, I don't really know what would define a track as dubstep (besides sounding like dub, and having a heavy bass). This is very different from EDM dubstep, or the cheesy drops and such, and is more atmospheric, which is a good return for my google search.
I watched a quick youtube video in incognito mode 'googled: what is dubstep, anyway?'). Characteristics from that vid & how this song matches up:
Tempo: 135 - 150 (check! this song is around 140)
Kick on 1; Snare on 3 (check!)
Prominent Sub bass (check.- but not overwhelming, which is probably what makes this song more up my alley than what I normally associated with diubstep)
I think the sound quality on the google DRIVE file is not great - soundcloud is above instead. either way, I very passively listened to this while working. Not reviewing tonight, want to close screen earlier than later so I'm not sleepy again tomorrow.
note to relisten to this
here's a cartoon that seems appropriate for the past few days
3.5 hours of bliss ------ with way too many ad breaks thrown in to throw it off ;__;
Andrew Weatherall died of a pulmonary embolism at 56 (NYT obit: https://www.nytimes.com/2020/02/21/arts/music/andrew-weatherall-dead.html ) - in hindsight, with what we know about COVID and blood-clotting, it could have been related? He died just a week or two before the mexico city trip for backdoor XL (which was also right when people were starting to talk about COVID more + came in just a few weeks ahead of the west shutting down), and Mouthfeel served him right with the 'Soon' cover to close out his set; since that trip, I've been just gushing over everything I've listened to that he was involved with. Learning more about him definitely reframes how I think about Primal Scream / Screamadelica (a very good album that sounds like if the rolling stones made a concept album about heroin has turned into a very good album that bridges dance and rock in a way that ushered in a sound that came to define the 90s).
This mix is a birthday party for primal scream, in 2011 (so, guessing a 20th anniversary of Screamadelica -- wow, the fact that Screamadelica is going to be 30 this year is strange? Not that it makes me feel old -- I didn't listen to that album until a few years ago -- but I just feel like. The 90s always feel the same amount of time away; The 2000s and 2010s took 8 years, max) ------ It's a great mix for an after party. The Orb "little fluffy clouds" remix that it starts out with is a nice way to set the stage in the early 90s and call to mind primal scream without being too on the nose, while also bringing it more to the present with a more contemporary sounding cover. The mix does dip a bit into heroin den territory in the middle, but never too much, and made working tonight very pleasant. Just seems perfect for an after party setting.
All this aside, wow, there were so many ads on this YouTube video. Even now, I'm trying to go back and revisit parts that I liked, and I'm getting hit with a 15 sec Geico ad each time. Most of the ads are COVID-related (Wells Fargo: On Demand is so special, especially now! And you can do On Demand with banking, too! || VRBO: Find the house that makes the vacation, etc.). Given that he ...seems? to have died from COVID, it seems like a slap in the face trying to listen to this mix and celebrate him, and then have to watch and click through an ad related to COVID for what seemed like every 10 minutes of the set (but what was likelier every 20-30 mins) >;1
Not going to sign up for youtube premium -- but would also be devasted if youtube started taking down its music librarty. there is so much on there, and the comments section has been such a treat during this streak club.
EP on Spotify
Nice timing that Paras sent this over on memorial day: this is very much an EP for summer's dog days, and today was the first step toward that heaven-as-purgatory. This all sort of blends together to get you to sway at max 22 back and forths per minute, slathering you up with golden summer honey, and not bothering with much else to interrupt (or stand out from) that pleasant sweetness. Which is a positive way of saying that it's "boring" -- but that seems like it's the point and the pleasure. From interview (regarding a different album - https://i-d.vice.com/en_uk/article/kzw4ym/meet-the-psychedelic-london-band-ulrika-spacek-ahead-of-their-visions-set ):
"A lot of the songs have been made out of loops. That's not to say there isn't 'songwriting' in there but there are certainly large sections where the mind gets to wonder."
From that article, it sounds like their show relies on a lot on visuals:
"We just feel at our most comfortable when the lights are off and the visuals can play tricks on the eye. Think we actually play better when you can barely see what you are doing. For us it removes that notion of 'we are on a stage, performing for you' that feels a bit weird to us."
Both give the idea that this is music as a supplement/layer rather than object. Or, I guess, let's take form the EP's title: the music is suggestive (for me, of driving back from barton springs all sun-dazed on a summer sunday, or idly inspecting vegetable garden in barefeet holding a pepino gatorade and knowing you gotta water them because it's so hot so you set down the gatorade and spray the hose and you get some mulch stuck on your feet as you get to the back of the bed so your rinse of the mulch and go back inside, and this EP is what plays inside the gatorade bottle as it's forgotten and left to bake in the grass). It's "chill" music 2 chill to and focus on something else, which means most of it is ultimately forgettable; there are many, many, many other options out there that are interchangeable in what they are 'suggestive' of -- but who remembers or differentiates between august days? Who cares?
(aside; I watched a music video of a woman chopping vegetables called 'full of men' and that was a bad music video. I was hoping that the visual / art emphasis that they talk about in the article would mean that there is some interesting aesthetic. Nope. Very lazy -- trying to imply some depth or profundity that is just not there. tacky)
(double aside: I looked up some of their lyrics on Genius, and they are surprisingly concrete and personal for the style, which I feel like normally goes the way of being generic and abstracted nothings that try to present some image of insight-- but, that said, lyrics are mostly a riff on some manifestation of ennui. surprise!)
ALSO Attaching this image 4 paras, who said that he had tried Pavement, but it sounds like everything else that sounds like pavement, so nothing really has stuck- screenshot from 'Lord Luck' video.
Briyan played this today in his Twitch / ZOOM COVID replacement for DEMF. It was a very good set, in spite of it being his first time playing for an audience. I am very much ready for sleep, so I am not reviewing or digging for this. Here is the track, goodnight!
It's DEMF weekend during COVID. Detroit techno for the weekend.
I haven't listened to much associated with UR (at least not intentionally alone at my computer). They came up a good amount (for good reason) in Dan Sicko's techno rebels, with an emphasis on their rad / militant politcis -- but when I tried listening to tracks that sicko talked about, I remember them being a little Hard-techno for me. I feel silly now, because I am really enjoying Jupiter Jazz tonight, and other songs I've clicked around tonight have been perfect for 2:30AM alone on a laptop as well. Fitting that "Jupiter Jazz' is also the name of an episode of cowboy bebop (i think with the ... trans? piano player? could be wrong) and this track gives the same feeling of celestial beauty twinged by existential regret (??) as that show gives. Also, no, that is not the right term. How about:
(or would it be Weltraumstaub Umwelt?)
(maybe neither, google translate gave me space dust, and it translates to space dust environment?)
"The experience of being space dust" -- the feeling of never being to explore the cosmos actually / feeling of missing out on the future, but all twinged by a sort of future / cosmopolitan chic sadness? There must be a better name for this feeling, it is a "universal" feeling, after all ; )
Anyway - this live footage is more what I had associated UR with -- more hard techno:
Anyway #2: Nice quote from Bill Brewster (who is quoting "Matthew Collin in 1991):
"If Belgian techno gives us the riffs, German techno the noice, British techno the breakbeats, then Detroit techno supplies the sheer cerebral depth...Europe may have the scene and the energy, but it's America which supplies the ideological direction"
8/10 (for the song)
6/10 (for the birds)
Last night I listened to Sueno Latino, as an example of 'italian house' which is not 'italo house' (as a point of comparison for 'touch me' that had more an afro-cosmic root, which songs like touch me overshadowed in defining house-from-italy (??), so says bill brewster). The first thing that came to mind was those birds from the start of the song: -- where have i heard those birds before?
I knew they were from somewhere, but last night I thought they might be the same birds from something in franklie goes to hollywood. Tonight i revisited that thought, and they do not sound like the birds in 'welcome to the pleasuredome' which must have been what I was thinking :
Earlier today, I thought maybe i was just confusing it with bird songs in rich king's honcho set (which starts out with a lot of bird songs) and -- late at night i was just had mistakenly assume it was, in particular, sampled somewhere: https://soundcloud.com/honchopgh/honcho-campout-series-rich-king?in=honchopgh/sets/honcho-summer-campout-series-1
But I listened to Sueno Latino again tonight, and realized it's the same birds from 808 State's Pacific State. Neat. I thought maybe I had uncovered some nice little trivia here, but -- then i just googled 'the birds in sueno latino and 808 state' and this is nothing new. Which, fair, if you listen to those songs, it's p obvious. P4K tells me that this is a "Sample That Keeps Coming Back" that it was also in Anaconda (which, also, has a 'Dayum' sample that I know is from somewhere, and it is too satisfying to uncover these to google this trivia -- too many rabbit holes)
Article that is the first google result:
Article references a thread about the loon on DJ history, but it is no longer up. Wayback machine returned this, where someone asks the same question (what is that sample in 808 state and sueno latino):
(aside: that thread was posted by someone who has a blog (in their signature) about documenting the weeds / flora in London, which is still up and still seems kindof active:
http://wildcornerz.blogspot.com/ - which is neat)
(other aside - DJhistory.com seems to be no longer up at all. I'm pretty sure that bill brewster managed that. (yup, confirmed, it is too EZ on the internet to be sure of everything: https://en.wikipedia.org/wiki/DJhistory.com -- no reference to it being down though)
Peter pan and his band
Peter pan and his band
The Italo-disco phenomenon is so goofy. I remember the first time hearing italo-disco, at faust-house, and sweaty hairy shirtless nick running around back and forth in that basement. I think that was the first time i saw what exuberance / flambouyance / excitement you could get with dance music. And, still, there are regular italo nights that happe, back in austin (gino scaramuzza, how i miss him), and in SF ( i think one of the first nights i went to see Primo was because it was advertised as an italo night). It's just a reliable mood that you can get if you wanna flap around a little bit.
As far as italo-house goes, it isn't a term that you hear as much used to showcase a night, and i'm unclear if it carries the same cheesy / ripoff / B-movie connotation that italo disco has. Examples of two track that both seem to be referred to as 'italian/italo house):
49ers: https://www.youtube.com/watch?v=tanoNZsIh40 (Comment: Original 1989 video. DVD RIP. Italo House)
Sueno Latino: https://www.youtube.com/watch?v=DXhqDeTSEl4 (Comment: "A masterpiece of italian house)
These songs are very different. Sueno Latino is much more cosmic. Then again, sueno is described as 'italian,' so maybe the italo/ian is the differentiator here, and the 49rs track definitely serves the cheese.
In any case, the 49ers track, subject of this, is pretty funny -- music video as well. The sampled screaming sounds a lot like the singer from 'ride on time' - https://www.youtube.com/watch?v=M0quXl_od3g -- and, turns out that they were both done by Gianbranco Bortolotti's production house, Media --- so maybe it is the same sample? The lip syncing in the video is so much. It looks like a tim and eric skit. Turns out that the woman singing it in the video, Dawn Mitchell, was the front woman, and her vocals got mixed and dubbed over by an aretha franklin sample (or possible a sample from another song called touch me - https://www.youtube.com/watch?v=k7qQR1xqDJQ )-- the youtube comments rabbit hole could go deep.
Dawn Mitchell has a Facebook page here, and it sounds like she is still singing some really good jazz - https://www.facebook.com/DawnMitchellTheArtist/ - she posted an album called The Nineties, and a photo of her tagged in Austin -- in the 90s? I wonder where they played.
Flipped through "Last Night a DJ Saved My Life" by Bill Brewster, and see that there is a chapter devoted to Balearic. Some of it was the same as it was in the article that I read for the Physical Therapy post, but it expands in a bit, and brings other genres under the umbrella.
Another quote that I like, that I think captures a certain feeling:
"Played badly, Balearic can sound like a kitsch wedding DJ; done well, it can make you listen to songs with fresh ears. 'Afredo [recall, Ibiza, posterguy for Balearic attitude] used to play a couple of U2 tunes...and to hear those when it's seven o'clock in the morning, the sun's coming up and you're in an open-air club absolutely off your tits - whoah! - they just sound so fabulous. I'm sure people could stick 'em on now and say "well it's just a U2 record," but I can listen to them and still get a shiver" --- similar feeling to owner of a lonely heart. I think that moment in Detroit solidied that song, and that approach, in a way that I would like to build on. the trouble is that, unless balanced with a solid groove from which to break into something like that at 7AM, you need some solid technical chops, or else you would come off like a wedding DJ.
Going back to the song that was chosen - Belgium New Beat is one of the genres that is also under the Balearic umbrella. "New beat is a reaction to disco, New beat is completely soulless -- it's sterile music created to dance to and nothing else...a music burglary that left only rhythm and a cast, churning dance throb." It sort of feels strange to lump in with Balearic, which seems airy and free and light in its anything goes approach, but I read this as Balearic in a different direction -- "with suhc a balletic, decerated dancefloors, DJs would often pitch records right down, lending a druggy weightless feel to the music." Going back to an early definition that Brewster gives of Balearic: "Balearic is an attitude to music more than a specific style or location. Or, as dance music writer Frank Tope quipped: It's pop music that sounds good on pills."
And going back to Balearic, the idea is that you take anything to make the mood, without getting too bogged down in if the genre labels fit together. In the case of this song, Brewster writes:
The record is a steely piece of machine aggression and ominous minor-key synths that clocks in at 135bpm. However, press 33 instead of 45 (with the pitch control at +8) and it turns into a 105bpm heroin groove, with the four-on-the-floor kick drums hitting every second swinging beat. There are drawn out rhythms and crashing subsonic explosions where before there was only speed." As this 'trick's popularity spread, "DJs plundered their collections with a finger on the speed button, finding all sorts of weird surprises" Also funny: "But new beat ensures house received a arm welcome in Belgium (most Belgian clubbers thought house was just fast new beat). More importantly, it laid the groundwork for the looming hardcore techno revolution. Even as it championed new beat, Boccaccio was becoming the foundry room from which European techno would be hammered out).
That was a lot of re-typing. I am glad to have a name to give to this type of music -- I would previously just refer to this as something sounding like Front 242 (which I think I even mentioned in last night's post) -- or maybe group the slow BPM and throbbing mechanical base under gothic or industrial -- but the idea that you are taking music that has so many layers and slowing it down to see what lies between is something, or letting each mono-note of the sequencer be felt more in isolation is really what makes this so interesting. I'm surprised that Bill Brewster didn't talk about how the very fact that technological developments in electronic music -- that there could be so many fast notes that could be slowed and observed in isolation -- made it so that changing to 33 RPM would actually become something new. If these weren't made from a sequencer, then there would be a pitch change within each of the notes, and this would sound like just a slowed down song, because each note would clearly lead to another. It is so 1 and 0 / stripped down.
Songs which I have heard before, so I can't choose for a post, but which I am glad to reframe under this sort of umbrella:
Front 242 - Don't Crash is very high up there for me https://www.youtube.com/watch?v=5bB8aGUB6LQ (oddly, I heard that 'hey poor' song in a bougie grocery store, gus', which was strange?)
Severed Heads- Lamborghini- https://www.youtube.com/watch?v=zaOAEstv0R4 -- I don't know that this would fit in with Belgium New Beat, but I got a collection of versions of this single at RS94109, and I always thought playing the record at 33 instead of 45 sounded better. Revisited the record tonight, with balearic approach in mind.
Enola Gay is another one that I like to play slow, and I think I actually tried out in the only Dj performance I did last year for Evan's birthday! --- Brewster writes "...while slowing others, like OMD's 'EMOLA Gay' down to 33, turning electronic pop into heavy-legged drug funk.'
As mentioned in the YouTube comment, this approach to slowing down I think now is something we see a lot with vapor wave, to give these funky crooning pop songs a sinister ghost-like reframing. I think that the impact of doing the slowing down for New Beat is different - stripping down to core elements to make simple and emphasize a "new beat' beneath the existing beat, which is meant to be danced to. Vapor is more slow to the point of unease and haunting, a glitching sludge. I dont think you could call the sequencer-driven songs sludge. Again, too 1 and 0.
ALSO: now, I am not sure where, if at all, there is a line between Electronic Body Music (EBM) and New Beat would be. Seems like these youtube comments have an idea. I think I would use interchangeably. Nice to have something besides 'goth' and 'industrial' -- which both carry so many different meanings.
I planned to review grae by Moses Sumney tonight -- but after listening to part 1 of that album, I think it need more time than I can give it tonight to give a proper review up (and so far it's deserving of a proper review).
So, instead, I went to the trusty youtube-generated playlist based on Andrew Weatherall's mix of MBV's 'Soon' ( https://www.youtube.com/watch?v=yOBn50HHbRs ) -- and scrolled down to find song that said ft. kate bush, and it had to be the choice for the night:
this song is pretty wacky. it starts out with a front 242-sounding repetition (or -- wait, no, Skate! Or Die! repetition) of 'UTAH SAINTS! U - U - UTAH SAINTS!' - and some guitar that could be featured in the mortal soundtrack theme, and turns toward the feminine with a vocal sample from Kate Bush's 'Cloudbusting' and a flambouyant house bassline, with some arpeggios thrown in -- and then back to the UTAH SAINTS!
The flourishes that build the hodgepodge all feel pretty 90s, but the piano bassline is squarely house, and I could see this working as a bit of a cheeky curveball in a set, because it balances those elements enough to pass, but not enough to get by without a wry grin. And a lot of people, now, would gush to hear kate bush on the dancefloor i think.
On the darkside, however, I did come across a very terrible video for the 2008 re-release / re-master of this song:
Very 2000s fist pumping remaster. That said, any time I see aged nostalgia bait like this 2008 music video & re-release--- its just gets me in a cringe spot. There is a lot more to write about that. The overlapping windows of what period gets to "come back" for a nostalgic nod like this, and what happens when the window during which that "come back" is happening goes on too long, or come up multiple times. It's like -- I am watching a video that is 12 years old, that is celebrating another 15 years prior. But I am not celebrating what is 12 years old; I am still celebrating what is in total 27 years old. And, that can be uncomfortable, because it implies some sort of arrested cultural development. And, it is strange to see how even the approach to nostalgia feels very 2000s vs 2020s - example, the fake interview, and 'MC Hammer" coming in to make this guy sign away the rights to The Running Man dance is p cringe, because it feels dated, but not in the way that the video is trying to get at; it's dated based on its actual time period. And that weirds me out! This is very much like the Drab Majesty cover of No Rain, except Drab Majesty song came out now. If I were listening to it in 15 years, and the 80s nostalgia boner is still happening, then that is where this discomfort might come into play.
[[[Then again - the same optimism i have listening to the track is for the excitement i had hearing Mouthfeel play the andrew weatherall cover of MBV out (the same month of weatherall's death); or hearing "Owner of a Lonely Heart" close out Excursions Detroit in ...2018? It feels nice to have something that is so familiar in a new context.
Maybe it's the case that - It is exciting when a track or a a set can successfully integrate a nod tom a disparate but also loved genres / artist. But, when the integration goes into something that actually feels more dated than what is sampled, it feels slimey. Kate Bush holds up much better than the style of music that she was brought into for this 2008 re-release, just like the 1993 version of this song will definitely hold up better than this 2008 re-release Further, thinkig of the origial combination:.utah saints and kate bush were.roughly of the same time, they are speaking the same language, so this isn't driven by the desire to repackage the past, really. It's more adjacent. [EDIT: It looks like the video was from 2008, but was just posted on YouTube in April 2020? Many comments about how they had been looking for this video. So, then I would post: is the fact that the video for the 93 version was in my andrew weatherall / MBV algo playlist due to the fact that this 2008's video 2020 release led to a resurgence in popularity for the 93 video? Which way is up??]
I am not at all accurately or clearly representing what bothers me about .. dated nods to timeless eras or artists.