I want to record a mix a month. The end of March came really fast, so I recorded this mix based on some of the tunes I’ve listend to within the last week.
When recording, I felt like I was working hard, or something. I’m not saying that playing records qualifies as intensive labour, rather, everything else going on with school makes finding time to play records difficult. That said, I think this is me enjoying the pressure somewhat, hence the reason for the initial title, “work!”
Now, while I’m posting this, a day later, I feel like a beat pirate, so this is called the, get ready for it…
01. TOCADISCO – Nobody Likes the Records that I Play
02. CALVIN HARRIS – Acceptible in the 80s
03. THE WORLD DOMINATION vs. ADAM SKY – Galactic Lover (Raverbilly Remix)
04. MYLO – My Muscle Car (Tiga Remix)
05. HOSTAGE – Pride
06. JUSTIN TIMBERLAKE – My Love (Kolosta’s Electro Mix)
07. HEADMAN – On and On (Riot in Belgium Remix)
08. DROP THE LIME – Coal Oven Fever (Curses! Remix)
The fifth tune in this mix, Pride, is a stomper perfect for mid-set throbbing dance floors. The tune is largely built on one robotdisco groove hot enough to spark a flame.
I needed an image for this post and have wanted to use this dirty snapper shot I took while literally standing underneath Peaches at her show in Brighton a couple years ago. That explains that, now on with the music.
Trouble and Bass aim to keep people dancing. It’s simple. Download this and play it loud!
A very long time! Might I ask your name, sweetie? This is nonsense. Beasts become instantly open and its mouth it contained those were tusks and tried to what? The rest of us surely were in danger as well. Aida will be in contact with this terminal that will also jump over the low wall, then bend and look. Eyebrows rise even higher now. The last door opened and we were in what was obviously a laboratory. From Outer Space. Here as a guarantee – dont you agree? He stood and buckled on a large down. How could I tell the difference? From my point of view all I could do is look up and quickly find the security bug in the ceiling. This must be important but it … and I want to know just what. I had a squad steal him. Now you have asked the right question and the answer is obvious. The shoulder. He shrieked, jumped aside, turned, lifted his gun. “Yarf!” Our dogbot said, yarfing through a muzzle covered with dirt.
First up, Maison Kitsune superstars Digitalism. I don’t think they can do anything wrong with dance music. Zdarlight is a stomper and their DM remix takes a classic and makes it pound. I can’t get enough of either of these tunes.
Then Spank Rock: dirty mutherfuckers from Philly who get some ace remix treatment. I prefer the work Switch does, but only because I dislike the Josh Wink sample that plagues the Pink Skull remix. Give the Pink Skull remix a chance though…just wait for the intro to pass.
Hands down, Tiga is my hero. I can’t wait to see him DJ. Oh some day…The Come With Me Remix is one of my favourites because of its subtle acid tweakery combined with it’s deadly bass lines that sort of spontaneously combust. The track is sexy too like a naughty librarian. Or something. I can’t stop playing “3 Weeks” either. It’s dubbed-out bass lines and muted synth enchant me.
I have yet to see Tommie Sunshine. If I saw him and Tiga on the same night I think I might die. I hear TS is manic. These remixes don’t lie. Body Jack is a dark journey into minimal techno. TS re-works Boys Wanna Be Her into a thunderous, almost anthemic, dance floor stomper.
I know others were playing beat soup before Soulwax were, but they do it so well. Their DJ sets can shake you into a tizzy. They’re all about partyfuntime and you know, there’s never anything wrong with that.
After last night’s post I had to listen to some old Prodigy Material and holy eff it’s so natsikashi. I think that’s a Japanese phrase for nostalgic. I’m taken right back to high school during the early to mid 90s. I remember playing these albums on my parents’ stereo in the basement and rocking out, later to be yelled at by either my mum or dad because the music was too loud. Turning the volume down never helped because the low end would vibrate through the floor. Oh the good old days.
While in University my first radio show was called Cerebral Seductions and I went by an alter ego known to my listeners as Paul-Z. Get it? Cerebral Paul-Z? Yeah, in retrospect it’s a bad joke, but I was 18 then. Show me an 18-year-old that hasn’t been stupid and I’ll, um, do something really nice for you.
This was 1995; the station had nothing resembling digital editing so I recorded my show promo on a real-to-real. For the bed of the promo, (you know, the music part that lay under my voice telling everyone to listen to my show) I cut in the beginning sample from “Out of Space.” I thought it was so clever, and for someone brand new to editing, I think it was quite good. Imagine, that dodododododod do dooooooooo, spacey bleeping playing beneath a geeky techno fan saying something about listening to techno every Tuesday night from 10 to 11, then the “I’ll take your brain to another dimension” sample, then the crazy beats.
MUSIC FOR THE JILTED GENERATION
When it came out, I remember liking this record a lot more than Experience. Maybe I had pent-up rage issues or something and the aggression in the music spoke to me on a different level.
I don’t have any idea. Like I replied to the anonymous comment in the last post however, I really wanted to be a raving British revolutionary. I think I still do.
I didn’t ever think The Prodigy could reinvent themselves after Firestarter. That was the end of the seminal dance music act for me. I heard their last album Always Outnumbered, Never Outgunned was an improvement, but couldn’t be bothered to actually listen to it.
A remix by Geht’s Noch? posted on Acid Girls changed things. GH are two boys from Belgium who make hyper-mobile dance music. Like many tunes I’m loving lately, their remix of “Girls” is all ground up and sounds like the melodic chorus of a thousand well tuned blenders. I mean that in a good way. The remix is heavy and thick; it’s well poised to make sweaty dancefloors more, um, wet.
If the remix can be that good, then certainly there must be some merit to the original. Considering the groundbreaking music in The Prodigy Experience and …Jilted Generation we should all give them another chance, no?