house and techno are bad

zhao

there are no accidents
what would you guys say is a good starting point for Jeff Mills? Only really heard the recent something in the sky bits properly and the exhibitionist mix cd (which was very impressive).

the latest album is a masterpiece. if i could only have one of his albums for the rest of my life it'd be that one.
 

stephenk

Well-known member
Not sure how you can make that statement about Clone, the label that gave us the Lab Rat XL album, as well as Der Zyklus ad Drexciya cuts... the Alden Tyrell album and so on. In fact if you look at the Clone discography you will notice it is a mix of electro, acid, techno and that the label has been very selective in what it releases. It has hardly been flooding the market with endless pap that all sounds the same, a criticism you could level at Kompakt.

I think you could say the same about Bunker although I only have a couple of their compilations so I'm not so familiar with them. But I'd hardly describe Unit Moebius and Legowelt as mindless music for sheeple.

i agree.
they're absolutely in tune with the "essence" even if that gets derivative sometimes. i don't really want a label that's going to be obnoxiously eclectic...in my eyes it's worse to churn out the preset-based populist club stuff with 'craaazy breakdowns' than it is to churn out rough + caustic classicism with old hardware and all the other great thing cliches that i actually love.
i don't LOVE all of the hague/rotterdam camp's stuff, but there's something like 12 clone sublabels now, and the level of support for people like drexciya and jamal moss alone puts them really high up in my books, certainly enough to recommend them over (post-06 or so) kompakt.

oh yeah, and clone's royal oak label recently put out things by space dimension controller and gerd that are very much in line with "cutting edge" kyle hall/floating points plastic people sophisticated jazz-house or whatever you want to call it
 
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mms

sometimes
i agree.
they're absolutely in tune with the "essence" even if that gets derivative sometimes. i don't really want a label that's going to be obnoxiously eclectic...in my eyes it's worse to churn out the preset-based populist club stuff with 'craaazy breakdowns' than it is to churn out rough + caustic classicism with old hardware and all the other great thing cliches that i actually love.
i don't LOVE all of the hague/rotterdam camp's stuff, but there's something like 12 clone sublabels now, and the level of support for people like drexciya and jamal moss alone puts them really high up in my books, certainly enough to recommend them over (post-06 or so) kompakt.

oh yeah, and clone's royal oak label recently put out things by space dimension controller and gerd that are very much in line with "cutting edge" kyle hall/floating points plastic people sophisticated jazz-house or whatever you want to call it
yeah its a good label on occasions - retro on the whole but still pretty innovative in its own way, bunker is a bit more experimental i guess, the whole classics thing was good and the drexciya sublabel, royal oaks been great so far too.
 

Dusty

Tone deaf
Speaking of the new Mills album, the cheapest place I can find it is Honestjons for £20.

I don't usually steal albums off rapidshare but in this instance Jeff is pushing me towards the edge. This will be the most I've ever spent on a single CD.
 

bobbin

What
:O @ this thread

this thread is mental. i think one stylistic choice couldn't be futher from the issue of whether or not something is good. it's like saying that the 7th interval is the devil's interval and that any music featuring a chord with two notes 7 semitones apart should be consigned to hell.

Ok I've been away and had a think about this,
I still don't really see the distinctions mms is talking about. As i see it house and techno are defined by their 4/4 kicks. (when i say 4/4 by the way I mean the 4/4 kicks, of course 99.99% of 'dance' / club music / continuum stuff is in 4/4 time). If it doesn't have the 4/4 kick it's not techno, it's electro - right?

try arguing with eg keith tucker about that, he's talked about how irrelevant it is for him, can't find where now unfortunately.

if you're trying to categorise music based on one materially tiny necessary and sufficient property surely you're barking up the wrong tree? surely almost all issues of musical definition involve a less than neat bundle of considerations?

and the idea elsewhere that because 99.5% of a genre is shit the whole thing is incredibly vexing seems really aesthetically invalid (or something) to me. i'm just happy with the quantity in absolute terms of good stuff i come across, i can't imagine why it should make any difference to me that there's a lot of corresponding bad stuff i don't listen to.

i really dislike this idea that formula is bad too. why would you evaluate some music based on whether the process used to conceive it was novel or repetitious?
 

mms

sometimes
this thread is mental. i think one stylistic choice couldn't be futher from the issue of whether or not something is good. it's like saying that the 7th interval is the devil's interval and that any music featuring a chord with two notes 7 semitones apart should be consigned to hell.



try arguing with eg keith tucker about that, he's talked about how irrelevant it is for him, can't find where now unfortunately.

if you're trying to categorise music based on one materially tiny necessary and sufficient property surely you're barking up the wrong tree? surely almost all issues of musical definition involve a less than neat bundle of considerations?

and the idea elsewhere that because 99.5% of a genre is shit the whole thing is incredibly vexing seems really aesthetically invalid (or something) to me. i'm just happy with the quantity in absolute terms of good stuff i come across, i can't imagine why it should make any difference to me that there's a lot of corresponding bad stuff i don't listen to.

i really dislike this idea that formula is bad too. why would you evaluate some music based on whether the process used to conceive it was novel or repetitious?


woops has got the wrong idea
techno was never about the 4 4 kick that's all i'm saying that's not where the emphasis ever was, compared to house.
 

Leo

Well-known member
yeah. i think it might be a japanese only release? no idea why. but yeah, rapidshare.

some of his recent cds are available for $16 plus shipping from the axis records website. "contact special" is pretty cool, a collection of a series of tour-only 7" singles from a while back. and the early axis comp "the other day" is good, sort of chilled and "of its time" sounding but good nonetheless. and when i want to bang my head, i throw on the purpose maker comp cd, non-stop bangers.
 

Corpsey

bandz ahoy
My record deck broke a while ago and I've been trying to figure out if its worth getting it fixed. Thing is lately I've been listening to/wanting to mix mainly house/techno and I gather that a lot of tunes come out on mp3 only nowadays.

Is it better to have CDJs/Serato if you're a house dj? I do love vinyl but I dunno if I can afford it anymore :eek:
 

notoriousJ.I.M

Well-known member
My record deck broke a while ago and I've been trying to figure out if its worth getting it fixed. Thing is lately I've been listening to/wanting to mix mainly house/techno and I gather that a lot of tunes come out on mp3 only nowadays.

Is it better to have CDJs/Serato if you're a house dj? I do love vinyl but I dunno if I can afford it anymore :eek:

Sure there are a few releases that are digital only but there are also guys like Omar S, Theo Parrish and Moodymann who refuse to play the digital game and only release on vinyl. I guess it's whatever you feel most comfortable mixing on but if I was in your position I'd probably go the decks and serato route. I'm pretty sure there are plenty of older house and techno records that have never made it to digital anyway so the second hand market is always going to be there for those.
 

grizzleb

Well-known member
Where are the best places to start with Omar S and Theo Parrish?
They both have a bunch of 12 inch releases. Omar S's first 4-5 12s are class, just numbered I think.
Get 'Just ask the Lonely' if you can, or 'Oasis', 2 good albums. Theo Parrish has a lot of 12 inches too, but I'd check out First Floor and Parrallel Dimensions as 2 good albums that give an introduction to different facets of his sound - the former more housey, the latter more fucked up & abstracted...

Enjoy though. There's loads of good shit.
 

grizzleb

Well-known member
Some of my favourite of their tracks...

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Emotional
 

stephenk

Well-known member
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also "i can take it" which isn't on youtube and is originally a recloose track
 
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