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actually, i'd be interested in a "definition" of balearic house . . . . stuff that i'd be tempted to call balearic includes: (1) fpi project -- "rich in paradise" (2) the dancehall-ish track on flying records that goes: "calling you african people, this is an african cause . . . . stay out!"...

i have no idea who lady sov is . . . . however, last night at the dj cameo show, i asked greg poole about a couple of the tracks he was playing. and one such track was a lady sovereign remix . . . . so for me, luvving a track by lady sovereign has nothing to do with hype or image or anything...

Brighton must produces these kind of characters . . . . Back in 92/93, when I lived in England, I used to go down to Brighton on a regular basis. There was this guy named "Perv," perhaps 35 or 40 years old, if not older. Hard to say. (I was 20 years old at the time.) In any case, Perv wore a...

I've been try to push Kudu for a while now. They're utterly poptastic and have wicked voodoo rhythms. Here's a link to their site, where you can hear soundbites: www.kudu2u.com For anyone who might be interested, I write about Kudu on my new blog, which address is...

Badiou has four categories of truth, philosophy, science, politics, love. (I got it wrong in the passage above, substituting science with art.) The truth of love, it would seem, is *not* transmissible; it is private, its possible truth limited to two persons. Whether this infects the other...

ha! we don't want the games either!!!

If you're playing the Bunker, which I believe is the party held at Subtonic (Norfolk b/w Delancey & Rivington), you'll be right around the corner from (1) Rothko, the grime night on Suffolk b/w Delancey & Rivington, and a hop skip jump away from (2) Lotus, the dancehall reggae night on...

I'm still making my way through Spinoza's "Ethics," so I can't address Badiou's possible relation to Spinoza and, more generally, rationalism . . . . What I will say is that Badiou reminds me of the early Heidegger, the Heidegger of "Being and Time," and that his recourse to set theory strikes...

i agree that mixing skills are way over valued . . . . first in importance is the actual tracks -- is the dj playing good tracks, good songs???? -- then the order in which the tracks are played -- and of course setting the vibe and transmitting energy . . . . more important than mixing is...

also, while we're on the subject of early jungle, what do people thing of 91/92 era mute records??? i realize that mute was a major (or at least not underground) label, but i think a lot of the junglistic mute stuff is brilliant. have a cassette comp somewhere deep in my closet called...

beer is $6, so perhaps a dollar more than the going rate (no pabst on hand) take the F to Delancey/Essex -- then walk east a couple blocks -- Norfolk, then Suffolk -- go left (north) on Suffolk -- and Rothko is on right (east) side of the street -- if you hit Rivington, you've gone too far...

no new york city date??? also, interesting that he has so many west coast and deep south shows

as far as genocide goes, wu tang clan did a remix of "narra mine" in 95 . . . . so just as a lot of the bristol acts hooked up with wu tang, evidently genocide did too

the marc ryder stuff is generally first rate -- wish i could find more of it here in new york have you heard "mine, body, soul" by fantasy ufo -- came out in 91 on strictly underground -- it's got the "warm" rolling sub bass action going on, if slightly primitive -- and a rapper and a singer --...

I think the author meant that TODAY's "workers of the world" are unable to see exploitation, and this is in large part because the Left has been "disabled" by Derridean language, or what he calls "a virulent strain of Nietzscheanism"

this is not my argument -- merely came across it on the web and thought it interesting, if unpersuasive the gist of the argument is that marxists have read derrida naively, thinking him a "friend" of the Left, as sharing the commitments of the Left to social justice, etcetera, when in fact he's...

also, i should probably let SR speak for himself -- but he also has a theory on how jungle became less rhythmically complex . . . . namely, as the london massive left jungle for garage, and as white fans from outside the metropolitan area moved from house/trance/gabba into d'n'b, the djs and...

i think you're right! -- yes, the whole question of jungle's development from 90 to 95 is very interesting . . . . i expect this will be a good thread

as for your first question, i'm hardly an exper . . . . but i think that because the "music was too fast to dance to," they began to fiddle with the bassline such that, to borrow SR's expression, jungle became a 2-lane highway, the fast lane and the 70-to-80 bpm reggae slow lane . . . . so in...

didn't hardcore djs simply mess with the 1200s to make them go faster than +8, such that whatever limits were engineered into the turntable were exceeded anyway???