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He's wrong about "the no rules" bit, though. As the technical pages article on engineering the sound kind of indicates - there's parameters. Quite strict specifications. Standard talk for producers back then, of courses - "we can do anything!" Hmmm, no - please don't.

Born again believer

I never used to bother looking at the technical pages in Melody Maker might have learned something!

A French fellow I know made the most extravagant testimonials online about this Paris show from last night "Autechre, group of a lifetime. How is this possible, with all these songs, all these melodies that exist in the world? .... A decidedly exceptional concert, fierce, lively, abundant...

A soulja has faaaaaaaaaaaaallen

There's a thing in the Guardian that mentions it: "This Heat specialised in crashing together disparate elements: lo-fi recordings and cutting-edge technology – their use of a harmonizer, the pitch-shifting digital effect notably deployed on David Bowie’s Low album, resulted in 24 Track Loop...

Ah, so that's how that sound is achieved! Same machine that Goldie used on "Terminator". And This Heat on "24-Track Loop" And Tony Visconti all over Low

Classic example of the Superproducer where every record - regardless of the band - sounds exactly the same. He just has his sound and imposes it. The only way to differentiate the groups at all is by the vocalist. One of his particular hallmarks is a kind of chiming rhythmic guitar sound -...

I like the fact that Freud was so threatened by him he fainted in his presence - twice, on different occasions. He said something to the effect that he felt Jung was projecting a very strong death wish against him.

"for starters"!

Has anyone spent any time with Carl J? I've only picked it up secondhand and even then only faintly. Worth exploring, or a load of cobblers?

wouldn't say it's a crusade, more like indelible memories of getting increasingly bored and fed up as '97 turned into '98, and eventually having to stop going to drum and bass nights... and then more or less switching my attention entirely to 2step garridge if you happened to enter the scene at...

I quite like it - those sort of scritchety sounds flickering across the stereofield - then there's that sort of oompah-oompah vamp, which is much more hardstyle or that kind of clean frictionless gabbertrance but it's way too 4/4 thumpy for most of its (brief!) duration to be considered drum...

it sounds a bit Dance Ecstasy 2001... gabbertrance I'm not sure if I heard it outside this thread I would even have thought "drum and bass"