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Everything posted by Cupe
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Remember that debate we had about there being too many record labels? Now there's another one. From the porn industry. Yep, we're not joking. Pornhub is launching a record label, creatively titled Pornhub Records, according to Billboard. And you could get your video premiered on the site by entering this competition. Their delve into music shouldn't come as too much of a surprise, though. Earlier this month 'Gangsta's Paradise' rapper Coolio released 'Take It To The Hub', a Pornhub-commissioned track with a pretty raunchy video. Although we're not sure which direction the label will go, we reckon this track below would be pretty suitable. Source
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How do you replace 1,600 LPs after a shipping mix-up results in US Customs destroying the whole lot? It takes a few generous friends, tenacious trawling of record shops, a research guru – and a whole lot of cash, writes Ed Vulliamy 'But you can guarantee that my belongings will be delivered?" I asked, quivering – and I can still feel the nausea that came over me, even before the man at Yellow Moves of Hammersmith said: "No, I can't … I'm afraid your things have been destroyed by United Airlines." This was January last year, six days after the shootings in Tucson, Arizona, and my "things", which had been heading for Tucson, included some 3,000 books and 1,600 vinyl LP records. The collection had been lovingly sought, compiled and scratched since the age of 12, when I bought Help! by the Beatles. The following year I added Dylan's Highway 61 Revisited, and transcribed every word to every song, holding the needle aloft above the record while I wrote them down. I would work on Saturdays to buy the records of bands that played the Isle of Wight or Shepton Mallet, at the Roundhouse and in Notting Hill – Hawkwind, Floyd, Steppenwolf – during the early 70s, and got Noel Redding and Mitch Mitchell to inscribe a copy of Hendrix's Axis: Bold As Love. Soon after, I bought Shostakovich's 5th Symphony and saved up for Don Giovanni under Otto Klemperer's baton. I've always listened to vinyl, and never threw any away. I dislike the metallic edge on digital sound and couldn't download my way out of a paper bag even if I wanted to, which I don't. I agree with my friend Joe Boyd, who produced Fairport Convention and the Incredible String Band, and who said, when I called him on 21 April: "The vinyl sound is soothing or exciting, depending on what you intend. It's warm, it's three-dimensional, doesn't tire your ears." Joe is reorganising the shelving of his collection after a move, listening to every record as he goes, and after six years is just over halfway through. That is what I wanted to do. Moving to the Arizona desert had, as the saying goes, "seemed like a good idea at the time", and all that music and reading had been stuck in storage while I lived in the confined spaces demanded by London prices. I wanted to get it all out, and listen again. I had entrusted my belongings to Yellow Moves, and got a text while over in America during October 2010 promising: "Just wanted to let u know that the shipment will be there beginning of next week." It was an empty promise. The right paperwork did not reach the right people. My books and records had been "released to carrier for destruction" by US customs in Phoenix. I felt as though the physical evidence for most of my life had vanished. The fightback began when I realised one day that vinyl could be replaced. Over coffee, my friend Paul Gilroy handed me six albums by Neil Young, Sly Stone, the Beatles, Mike Bloomfield's Electric Flag, Stoneground and Poco from his own collection. The restoration had begun. My partner Victoria sought out Polly on the Shore by Trees for a birthday treat. An Italian friend, Allegra Donn, presented me with Traffic's John Barleycorn Must Die, signed for her by Steve Winwood. With people like Paul, Vic and Allegra reacting like this, I already started to feel a richer man than before. Then something wonderful happened. I had met a young soldier named Edin Ramulic in a trench during the Bosnian war; we had spent an afternoon together in 1995 dodging sniper fire, after which I smoked my last ever cigarette and gave him my remaining cartons of Camel. I kept bumping into Edin after the war, once in St Louis, Missouri, while he was on a speaking tour, from which he took time out to scope a shop with me called Vintage Vinyl for Neil Young records. "I've got those," said Edin, and I winced as he explained that his collection had survived the war (while mine had failed to survive Yellow Moves). Some months later, I was in Edin's home town of Prijedor in Bosnia and we met up. He asked: "Eddie, have you got room in the boot of your car?" and opened his. It was half-full of vinyl records. "Come on," he said. "It's a bit dusty, but load up. To pay you back for those cigarettes." For all my friends' generosity, however, there was a very long way to go. In Notting Hill Gate, amazingly, Classical Record Exchange lives on. Here remains a treasure trove of Czech Supraphon and Soviet Melodiya, for music by Janacek and Shostakovich respectively, on which I used to spend pocket money at Collets the Communist bookshop in Charing Cross Road. . And there are the glorious gold-labelled HMV Angel records; young Barenboim, Furtwangler, Solti and opera in boxed sets. You can emerge with 20 records for under £100, and I did, on several occasions. Before the advanced search for Keef Hartley, Spooky Tooth or the Third Ear Band, some basics had to be replaced immediately, and Second Hand Rose in Greenwich Village had most of them for, scarily, between $40 and $60 a pop: all three albums by Buffalo Springfield; Dylan's Bringing It All Back Home, Pink Floyd's Ummagumma, the Allmans' Eat A Peach, Monster by Steppenwolf, Who's Next, Johnny Winter's Second Winter, Volunteers by Jefferson Airplane and Live/Dead. At Record & Tape Exchange, I did not have the £35 necessary for an Island pink-label Unhalfbricking by Fairport, let alone £200 for Live At Leeds. A careful navigation between affordability and authenticity was necessary: settling for a 1980s reissue of Unhalfbricking, but forking out £18 for New Riders of the Purple Sage and £38 for the Small Faces' Ogden's Nut Gone Flake. Usually the ceiling is a fiver, maybe a tenner. At my local shop, Tor Records in Glastonbury, there is a lovely lady called Leslie who knows folk music inside out. The morning after Bert Jansch died, I went in to fork out £28 for a near-mint edition of Pentangle's Basket of Light, but I certainly do not have the necessary £298 for Hendrix's Axis: Bold As Love, perched like an icon above the counter. Tor is great for the Clancy Brothers and Joan Baez, all under a tenner. Hairy Records in Liverpool became important to my life; well stocked with Loggins, Messina, Hillman et al, and the range of Progrock you'd expect from Merseyside. But there are times in life when you know you can't make it alone and, accordingly, I have engaged a vinyl guru called John Stapleton, who keeps the magnificent Wanted Records store in funky Bristolcorrect, of which he says: "It's hard to find the balance between running a business and a museum, but I'd rather sell something for 50 quid now than 75 next month." Stapleton is taking receipt of my "wanted" list and will help me through the surprises as to which records are hard and expensive to get, and which not: "Take the Beatles' Help!," he says. "There were millions of them, and even if only a tenth are in good nick that's still plenty. You'll find one for between 10 and 20 quid, or £150 in really good condition The rarer, the more expensive, and there are records I've never seen after years of doing this. But then you'll have records every collector thinks they must have: and even though the first King Crimson album was number one in the charts, a pink label in good condition could set you back 300 quid.." So there are mountains to climb. I just cannot find Here and Now's Floating Anarchy Radio – and there is the burning issue of the blues. They were my first love, really, along with Dylan and Dmitri Shostakovich. Sonny Terry and Brownie McGhee; Son House and Bukka White; Elmore James and Otis Spann. These were treasures I picked up while a teenager in Chicago, at Rose Records on Wabash, now gone. But this summer I'm taking my eldest daughter to a Harry Potter convention in the Windy City, and I might slip South Side in search of some Big Bill Broonzy. Anyway, I must stop now. Tor Records closes in 15 minutes; I've had my eye on a Byrds double album that came in recently and, this being Record Store Day (21 April), I might just treat myself. Source
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How exactly are you drawing this? The lines are def not clear cut
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Yeah it's been really good. The autoDJ streams are perfect, and me and scottie basically listen to it almost 24/7
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I don't mind the lines on the O's, but maybe not both
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Triangle arrows on the end of letters isn't very professional imo Nor are backwards letters
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What does straining out mean?
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Yea I'll get there. Can't bomb the fuck out of it.
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Aphex Twin 101 Exploring the massive discography of Richard D. James, known better as Aphex Twin, is like looking through a detailed history of the ebbs and flows of post-disco electronic music, from the rave music of the late ’80s to mid-’90s dubstep and through to ambient and the strange amalgamation of everything electronic throughout the ’00s. The English DJ/producer has made a habit of being at the forefront of sonic changes in electronic music across three decades, at once dictating the cultural narrative while also removing himself from it, branching out and exploring new and innovative sounds and textures. Aphex Twin spent his early years playing in the sandbox of acid, a genre offshoot of house music that often boasted harsher, edgier sounds. His first EP, titled Analogue Bubblebath Vol. I and released under the name AFX, embraces such chaos while also promoting a melodic sensibility that would come into focus as he dabbled in ambient territory in the early ’90s. “Analogue Bubblebath” boasts a warm synth line that underscores the track’s more atmospheric tones, while “Isoprophlex” is restless, a pounding bass line fighting it out with synths that stab through the arrangement with purposeful malice. Analogue Bubblebath Vol. II followed, also as AFX, which featured what would later become one of James’ biggest hits. Titled “Digeridoo (Aboriginal Mix)” on the EP but later simplified to “Digeridoo,” the track is an acid-house classic, a frantic, gorgeous dance floor jam that’s equal parts exhausting and immersive, an intoxicating didgeridoo sample anchoring the hard-driving percussive elements. It’s perhaps the purest and most exhilarating example of what Aphex Twin was doing aesthetically at the time: taking the signifiers of acid and house and slapping them together in the hope that something beautiful would arrange itself in the mess. The best of these early recordings are found on 1994’s Classics, a compilation record that took the entirety of Aphex Twin’s Digeridoo and Xylem Tube EPs and rereleased them alongside a handful of other early releases. These Aphex Twin recordings not only show off James’ uncanny ability for blending abrasive electronic elements with softer tones, but hints at his expansion into the genre of drum ’n’ bass, the frenetic, percussion-heavy genre that would come to define much of the popular English electronic music in the early- to mid-’90s. “Phloam” hits hard, all static and disintegrating synths; “Tamphex” is a clear precursor to drum ’n’ bass, more percussively complex and building around an eerie vocal sample, while “Polynomial-C” is the collection’s most accessible track, an ascending-then-descending riff weaving in and out of the crisp snares and lush synths. While Aphex Twin was finding experimental fuel in the genres of acid, house, and techno, the early ’90s also saw the release of two of his most critically acclaimed albums, Selected Ambient Works 85-92 and Selected Ambient Works Vol. II, albums that stood in stark contrast to the ruthless sonic turns collected on Classics. Selected Ambient Works 85-92 was recorded straight to cassette, and it shows, in the best way possible. The sounds are atmospheric and welcoming, the tape hissing, and occasional pops evoking cassette and vinyl nostalgia when listened to in 2014. James runs the gamut in terms of ambient music here: “Tha” is a nine-minute epic, a pulsing cut that’s perhaps the liveliest track on the record. “Pulsewidth” is an intoxicating house cut that shifts gears numerous times in its economical four minutes. “Green Calx” is more erratic and punchy while “We Are The Music Makers” is a gorgeous tapestry of bright synths and a single vocal hook stating, “We are the music makers / And we are the dreamers of dreams.” Where that album still held on to the occasional house influence, especially in terms of the percussive elements, Selected Ambient Works Vol. II is much more in line with the popular notion of ambient music, the kind practiced by Brian Eno in the late ’70s and early-’80s on albums like Ambient 1: Music For Airports and even the more abstract Music For Films. Aphex Twin takes his time building arrangements, resulting in one of his most sonically reserved records to date. Consisting of two discs that run around 80 minutes each, it’s a double-album that’s more challenging than its predecessor. Practically beat-less, it’s an album of tones and moods; from the classic “Rhubarb” to the vague driving pulse of “Blue Calx,” James muses on what ambient music can be, whether background noise or immersive experience. Perhaps most importantly, Selected Ambient Works Vol. II is a snapshot of changing cultural attitudes toward electronic music; the rise of specific genre classifications like IDM (intelligent dance music) and ambient signaled a shift in the listening habits of audiences—electronic music was moving from the dance floor to the bedroom, from a social music to a solitary one. Intermediate Studies After the release of his ambient records, Aphex Twin embarked on a successful run of releases throughout the latter half of the ’90s. 1995 saw the release of I Care Because You Do, a perfect bridge between James’ implementation of experimental techno and glossy ambient. This was a time when audiences were hailing grunge as the return of punk rock, but some of the most interesting and provocative music of the time was coming out of electronic genres; I Care Because You Do is wonderfully adventurous and idiosyncratic. Tracks like the icy “Icct Hedral,” the jarring and explosive “Ventolin” and the majestic “Next Heap With” showed that Aphex Twin was ready to expand upon the early sounds of techno, house, and drum ’n’ bass, moving into new territory and, with the rise of digital, looking for sounds outside of analog synths. That same year Aphex Twin released the Donkey Rhubarb EP, a more experimental but still melodically focused release from James, featuring the obtuse “Vaz Deferenz” and an orchestral arrangement of “Icct Hedral” done by Philip Glass, which served to cement James’ connection to the world of avant-garde music. Then, in 1996, James reached an artistic apex with the Richard D. James Album. Musing on the rise of jungle, itself tied to drum ’n’ bass, the Richard D. James Album is intricate and detailed. There are layers of noise throughout the album’s standout track “4,” but that can’t stop the beautiful melody from peeking through like light coming through the blinds in a dark room. “Cornish Acid” is more agitated and aggressive, an early-album nod to James’ acid roots. He then goes on to explore vocal sampling and more beat-centred cuts, including the mindblowing “To Cure a Weakling Child,” a track that’s the aesthetic and spiritual sequel to opening cut “4.” Richard D. James Album boasts some of Aphex Twin’s most memorable melodies and experiments, and it perfectly fused his ambient sensibilities with his knack for aggressive techno. The beats here are fast and furious, but they’re always grounded by the patience that made Selected Ambient Works Vol. II such an ambitious effort. Aphex Twin closed out the ’90s with a string of releases that continued to push genre boundaries. 1997’s Come To Daddy EP is often seen as a bit of satire, a send-up of the driving electronic music of bands like The Prodigy. While that’s true of songs like “Come To Daddy” and “Bucephalus Bouncing Ball,” which are furious, jackhammer productions, there are also moments of sly subversion, like on the airy, propulsive “Flim” or the mournful “IZ-US.” 1999’s Windowlicker delivers similar aesthetic choices. The title track is one of James’ glitchiest and most unpredictable efforts, consisting of his voice modulated in a variety of pitches and underscored by his typical breakbeat snares and tumbling drum lines. “Windowlicker” represents an appropriate end to the decade for Aphex Twin, comprising the past, present, and future of his work; in touch with his acid roots, his drum ’n’ bass ambitions and his techno sensibilities. Advanced Studies By the early ’00s, electronic music was more familiar to mainstream audiences. Bands like The Prodigy and Moby had found significant commercial success, completing the move from subculture to culture. As electronica found a surprising home in the Top 40, Aphex Twin continued to release music that fell outside of such aspirations, though the pace at which he released albums, singles and EPs slowed a bit. In 2001 Aphex Twin released one of his most divisive albums, Drukqs, a double-record collection of fearless, frenzied arrangements. Aided by a computer-controlled piano, James crafted jarring pieces of garage and drum ’n’ bass. The result is a halfhearted trip through James’ various influences, and unlike classic records like I Care Because You Do, there’s hardly a cohesive vision here. Instead, the record feels like an indulgent set of B-sides (with track names written in Cornish). There are some interesting moments: The wandering oriental-tinged melody on “Jynweythek Ylow” benefits from its brief runtime, as does the one-two punch of the sparse, industrial-sounding “Bit4” and “Prep Gwarlek 3b,” but the majority of the record is nothing more than a handful of intriguing experiments. One of Aphex Twin’s more interesting releases came in 2003. 26 Mixes For Cash is as bold and honest as its title, crafting remixes out of stems from, among others, David Bowie, Seefeel, and Nine Inch Nails. Considering how prevalent remix culture would become in the age of YouTube and Girl Talk, 26 Mixes For Cash is almost prescient, if not one of the more consistently audacious collections of remixes—this is without a doubt an Aphex Twin album, no matter the source material. James also spent much of the ’00s releasing singles and EPs, collected as a series with the name Analord. As the title seems to suggest, the recordings are filled with analog synthesizers like the Roland 808 and 303. As with Drukqs though, there’s no connective tissue, no singular vision or creative purpose. As with any series of singles, there’s enough to love for a diehard, crate-digging Aphex Twin fan, but little else. Where Aphex Twin’s earliest records are firmly planted in the context of the electronic music of the time, Analord feels like a vague smattering of ideas that never really fit anywhere else. Now, in 2014, 13 years since his last proper full-length, Aphex Twin is set to return with Syro. So much has changed in terms of electronic music since James first started out, but he’s always been at the forefront of those cultural shifts. He’s always seemed two steps ahead, embracing new ideas and new sounds. At times, that recklessness has resulted in futuristic-sounding classics, singlehandedly shaping the narrative of electronic music. Sometimes it’s resulted in listless duds that fade from memory shortly after they stop playing. If the first track released from the album, the maximalist “minipops 67 [120.2][source field mix],” is any indication, though, Aphex Twin is about to make another huge statement. Source
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yea I know. Saw that. And it's not fake.
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Post your instagrams and follow us! @ausdjforums
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Me and YSM will have a crack at it Not sure why you're wondering who to ask for help o.O You're already on ADJF ADJF = All
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Welcome lad. I learned on vinyl too. Only played a set on CDJ's my first time at the ADJF Meet this year
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Too basic. Has 1992 against a bathroom wall feels
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Thank me l8r
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So many large feels in this list
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Tens of thousands of you voted, and now it’s time for the results. We can now reveal your 50 Greatest Dance Tracks Of All Time. And of course, the worthy winner... 50. Darude 'Sandstorm' [16 Inch Records], 1999 49. Age Of Love 'Age Of Love' [Diki], 1990 48. Chase & Status 'Blind Faith' [Ram], 2011 47. Jaydee 'Plastic Dreams' [R&S], 1992 46. Soulwax 'NY Excuse' [Pias], 2005 45. Josh Wink 'Higher State' [strictly Rhythm], 1995 44. Groove Armada 'Superstylin' [Pepper], 2001 43. Frankie Knuckles/ Jamie Principle 'Your Love' [Persona], 1986 42. A Guy Called Gerald 'Voodoo Ray' [Rham!], 1988 41. LCD Soundsystem 'Losing My Edge' [DFA], 2002 40. Âme 'Rej' [Defected], 2006 39. Armand Van Helden 'U Don’t Know Me', [Armed], 1999 38. Justice 'Phantom Pt 2' [Ed Banger], 2007 37. Massive Attack 'Unfinished Sympathy' [Virgin], 1991 36. Noir And Haze 'Around (Solomun remix)' [Noir Music], 2011 35. The Future Sound Of London, 'Papua New Guinea' [Jumpin' & Pumpin' Records], 1991 34. Robin S 'Show Me Love' [Champion], 1993 33. Aphex Twin 'Window Licker' [Warp], 1999 32. Moby 'Go' [Outer Rhythm], 1991 31. Orbital 'Chime' [FFRR], 1990 30. Goldie 'Inner City Life' [FFRR], 1995 29. Larent Garnier 'Man With The Red Face' [F Communications], 2000 28. Rythim Is Rythim 'Strings Of Life' [Transmat], 1987 27. Benny Benassi 'Satisfaction' [D], 2002 26. The Aztec Mystic 'Knights Of The Jaguar' [underground Resistance], 1999 25. The Prodigy 'Firestarter' [XL], 1996 24. deadmau5 featuring Kaskade 'I Remember' [Mau5trap], 2008 23. Energy 52 'Café Del Mar' [Eye Q/], 1993 22. The Prodigy 'Out Of Space' [XL], 1992 21. Above & Beyond 'Sun & Moon' [Anjunabeats], 2011 20. David Guetta 'A Little More Love' [ultralab], 2001 19. Donna Summer 'I Feel Love' [Casablanca/GTO], 1977 18. New Order 'Blue Monday' [Factory], 1983 17. Swedish House Mafia 'One (Your Name)' [Polydor], 2010 16. Avicii 'Levels' [universal], 2011 15. Daft Punk 'Around The World' [Virgin], 1997 14. Paul & Fritz Kalkbrenner 'Sky And Sand' [bPitch Control], 2009 13. Armin van Buuren feat Nadia Ali 'Feels So Good' [Armind], 2011 12. Silence (Tiesto remix) 'Delerium' [nettwerk], 1999 11. The Chemical Brothers 'Hey Boy, Hey Girl' [Freestyle Dust/Virgin], 1999 10. Fatboy Slim 'Right Here, Right Now' [skint], 1999 Released at the peak of the Skint Records-led big beat explosion, at a time when ‘You’ve Come A Long Way, Baby’ was elevating Norman Cook to superstar DJ, it’s now a universal anthem of strident empowerment. 9. Sasha 'Xpander' [deconstruction/BMG], 1999 Progressive house was all but dead by 1999. Sasha and Charlie May resurrected the form triumphantly with the stunning surges and tidal melodies of Xpander, named after the analogue synth it was written on. 8. PVD 'For An Angel' [Deviant Records], 1998 Originally from his PVD’s ‘45 RPM’ album, it was rediscovered, toughened up and re-released as the ‘E-Werk Remix’ during the Gatecrasher-led late-‘90s trance boom, becoming a scene-defining hit. Plastikman 7. Plastikman 'Spastik' [Novamute], 1993, He's done so much but perhaps still Richie Hawtin’s greatest achievement, ‘Spastik’ is imperious, terrifying, the sound of a spitting, Touretting drum machine having a break down, a murderous, metallic jazz take on techno. 6. Stardust 'Music Sounds Better With You' [Roulé], 1998 Improvised around a Chaka Khan guitar loop by French producer Alan Braxe and Daft Punk’s Thomas Bangalter, garnished with Ben Cohen’s rudimentary yet perfect vocals, Stardust proved that Bangalter had an uncanny ability to turn disco metal into crossover gold. 5. Faithless 'Insomnia' [Cheeky], 1995 “Long build, big drop, big riff.” Faithless executed the blueprint so perfectly on Insomnia that they had to play it twice at every gig. An astonishing cocktail of Buddhist street poetry, piano house, orchestral pop and Euro-trance. 4. Underworld 'Born Slippy' [Junior Boys Own], 1995 Before Trainspotting, this was originally a b-side, a seemingly uncommercial ten-minute mix of improvised, one-take lyrics and jackhammer beats. Last summer it featured in the Olympic opening ceremony. 3. The Prodigy 'Smack My Bitch Up' [XL], 1997 The last of a trilogy of controversial singles which saw the Prodigy discussed in Parliament. Thrillingly combative street music, polished for so long it became raw again, beats sicker than a zombie orgy. 2. Tiesto 'Adagio For Strings' [independance], 2004 Barber’s classical Adagio was a deeply serious work. Tiesto, inspired by Ferry Corsten’s 1999 remix, collides brutal beats with lachrymose strings for an anthem which fanfared his rise to world’s biggest DJ. 1. Daft Punk 'One More Time' [2000 / Virgin] Is it the loop? Slower than the average house tune, somehow the breathless, chiming slice of compressed euphoria seems to be constantly accelerating, pulling us along after it, further and higher into ecstasy. And then, just as you think you may smile yourself to death – boom! The bass and beat drop and we are off. Is it that extended breakdown? So soon into the track that it’s almost the track itself, a confident inversion of the usual template that contributes to ‘One More Time’ being one of the single most suspenseful, dramatic slices of dance music ever made? Is it those lyrics? Repetitive, robotic and effected to within an inch of its life Romanthony’s vocal may be – but somehow that makes it even more achingly human, a robot that teaches us about ourselves in trying to be more like us. Or the fact that the words to One More Time are the closest that we night people have to national anthem? ‘Music’s got me feeling so free. We’re gonna celebrate, Celebrate and dance so free’. Look deep down inside yourself, strip away all the accumulated bullshit and distractions and ask why you go to festivals, why you go to clubs, why you feel the need to get up there on that dancefloor: It’s right there in those three lines. ‘One More Time’ never loses its power because its message is something we all need to be reminded of every so often. Then that loop comes back, charging like a runaway train through your body – with the same spine-tingling hit like pure MDMA whether it’s the first or the thousandth time you’ve heard it. It’s a physical impossibility not to smile, move, dance, raise your arms, jump in the air. Or whatever it is that your body does to tell you that yes this is it and yes this is why we are here and this is why we came out and this is why we love dance music and yes fucking yes fucking yes fucking yes… In hindsight, no other track ever really stood a chance. Source
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[Electro House] Misterchow - Rainbows and Tomatoes
Cupe replied to Narukami's topic in Electro & Bangers
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Reposted on: ADJF Facebook / ADJF Twitter / ADJF Soundcloud
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Pioneer To Sell DJ Equipment Business for $500 Million
Cupe replied to yizzle's topic in DJ Headquarters
I think everything selling for so fucking much these days (when sometimes it's a pointless tiny app) makes your brain fuck up.