I was there a couple of weeks back and had a good time... and found $10 on the sidewalk on the way home.

You could be that lucky, too!

I'll try not to fall asleep right after work and wake up at 1:30 in the morning this week. That was the suck. I'd been looking forward to heading down there again...

This week... this week I'll make it.

You can't see the benefits of making a concerted effort to be creative while engaged in a creative endeavour? Seriously?

the stuff those boys have been doing for Spectral and Ghostly has been really swank, too... btw - if any of y'all were tracking in the early 90s you might remember Bogdan's stuff... I think he worked under the name IceClimber.

actually... hate to burst bubbles - but I believe I started the name-calling with the 'poncey piece of shit' comment. Which, I might add, I stand behind 100%.

I'll also agree that resorting to name-calling in an argument is generally a sign of weakness. In this case, however, I think it's a reaction to abject ignorance... in any case I use the term 'argument' instead of 'discussion' because, in my mind, a discussion is when people communicate ideas with the idea of learning from one another... and an argument is when all involved are doing their best not to learn anything.

...and I'm certainly doing my best not to absorb any of your ridiculous generalisations and misconceptions.

btw - never speak in absolutes.

ps - I'm aware of the inherent contradiction in that last statement.

how it sounds it pretty important... and what you just described sounds tired and old and stale.

Keep running with that generic major label dj dance mix formula... it's works wonders with the lowest common denominator.

I wasn't making a pro-trainwreck argument... I was saying that I'd rather hear a DJ that isn't afraid to push forward - than one who may-or-may-not-be dropping the same set every night... or one that's learned how to beatmatch and hold it for 30 seconds. There is more to being a dj than thirty second crossovers.

I won't even get into the cd vs. vinyl debate because... imho... it's completely irrelevant - whether a dj uses cds or records is about as important to me as whether they're vegetarian or gay or have blond hair... your preference in tools - like your preference in food, sex and hair color is a personal choices.... and it's far more important to ask whether someone is doing something new or sucking at the same, tired, old cock that most DJs have been hitting harder than a newborn calf for years.

Anyone can play clean when they're playing it safe - but where's the art in that?

give my regards to Mr. Diagrams... although I'll be seeing him next month in NY.

good fucking christ you're a poncey piece of shit.

I saw some ravers talking about this party in the Fabre metro (that's right - the hype has reached the BLUE LINE). They were whispering and making secret hand signals back and forth.

I'm pretty sure this is gonna be the provervial shit. I haven't seen a city this hyped about a party since the first two Shite Nite shows in Vancouver. Incredible.

Personally... I like to hear a dj fuck up once in a while (not too often, mind you)... to me it's a sign that they're pushing their limits.

That's one of the things that's great about a mix like Mills at the Liquid Room - it is by no means a clean mix... it's a mix where he's really givin' er!

I'd like to show my arrogance here... and point out that there are two 'r's in the word arrogance.

Take it outside, tranceboy.

Fil-E Blunt: try used record stores.

been a while since I've seen Paratonerfs on a line-up... or maybe I haven't been paying attention...

btw guys... Sonic Dragolgo cut a pretty crazy record on BEAST a few years ago... I think the track Sister is from the Masonic comp on Hymen.

Damn... the Soundmurderer cd on Violent Turd is serious sickness. I think I'll have to check this out... plus - it's been years since I've heard Bogdan play (last time being at Even Furthur '99)...

I've always found that Mills records don't make as much sense outside of a mix... I actually find that with a lot of techno. That said, Mills' productions spawned a never ending line of copy cats... none of which have ever come close to the original... seriously - some of the most amazing things I've ever heard have come off Mills' records (G-Force is incredible... and shit... The Other Day ep is one of the greatest techno records I've ever heard)...

Anyhow... just have to get the man's back.

btw - I've been talking to Stunt Rock about possibly coming up here to play a show... would anyone be interested?

btw - I heard the four track ep by Error (Bad Religion/Nine Inch Nails/Dillinger Escape Plan collaboration)... it's sounds like what it is... I'm not sure when it gets released - we got promos last week... so maybe by the end of the month (or early March)... There's new Deicide coming out right away, too... I think I've heard that one once a day for the last few weeks. Lots of death metal-y goodness.

The funny thing is that newstyle is pretty much pigeonholing itself... it doesn't really need anyone to point out the formulaic aspects... although, when it comes down to it, speedcore is about twice as bad for being strictly formula: fastfastfastfastfast-violent sample-fastfastfastfastfast-angry sample-fastfastfastfastfast - you get the idea... violent and angry may be replaced by amusing or stupid as well.

Really, however - the whole beats-hoover-sample concept was beat to death by the end of '92. Making it faster has really been the only change.

The truth those big hardcore parties in Holland don't seem to be much different than Ministry of Sound or any number of British superclubs.

Why am I even a part of this thread?

I never understood T-1000.

I think the people doing the publicity didn't make it clear enough that he'd be doing a Richie Hawtin dj set... it seemed to me there was a lot of talk about a Plastikman set...

I haven't heard about any live Plastikman sets in a long time... and to think that he was going to be doing one at a club seemed a little far fetched. It does, however, sound like that might be in the works for Mutek (given his comments in some of the interviews published last week)... which would be excellent to see.

I should probably be ashamed... but I'm not. I mean - it's probably been about eight years since I played any of his records (scratch that, Just A Track from the Trance Atlantic 6x12" set is great - and shows up in a mix I did in 2002) - and I went in with fairly low expectations... but I came away pleased.

I'd make a list - but it'd be easier to just look at one of those 'top 100' djs polls... remove Mills and Hawtin from the list and replace them with a couple of jocks that should have made the list.

I'd rather think about who I actually like - rather than wasting time detailing people that suck ass...

So... here's a handful of people that I wasn't supposed to like - but really did.

Terence Parker - played a show with him in Iowa in '99. He was a little sloppy, but he was also constantly messing around... and anyone who takes that many risks during a set isn't going to win all the little battles. Inspiring.

Josh Wink - caught him opening for Meat Beat Manifesto (Minneapolis '98). He announced before he started that he wouldn't be playing dance music. "Meat Beat is here to make you dance, I'm here to keep you entertained until they take the stage." He had prototypes of some kind of minidisc sampler that Sony released a few months later. He was taking known tracks and cutting loops in odd time signatures (ie: a six beat loop from Higher State Of Consciousness that had confused kids falling down trying to dance to it).

Terry Mullan - saw him play at Furthur in 1996 on an almost blown sound system at about 6am on Saturday morning. It was one of the rawest, dirtiest things I've ever heard. I think the set was an anomaly, but I can't be sure... he's been a no show every other time I was supposed to see him play.

Scott Hardkiss - this one was also at Furthur '96.. Sunday night... he dropped a white label mix of Elton John's Rocket Man that blew my mind. Filtered and timestretched and wonderful. I'd probably hate it now, but eight years ago that sort of thing still hadn't been done to death.

Harry Chan - the guy plays all sorts of house... he sometimes plays funky breaks. In short, he plays music that I usually hate... and while there have been DJs who've been able to sustain my interest for part of a set, or a whole set... this guy has never failed to do the job. Imho, he's the single most under rated dj in the country and puts a lot of big names to shame.

Error-ize - that makes you halfway to being a producer. Shit... when I'm playing records I'm usually trying to approach things more from the idea of mixing/remixing than doing the 'just play a track' thing... and the feedback I've gotten from producers has been really good.

I've often told producers that I may own the record, but it's still their track - and if I'm playing their track and they don't like what they hear that they're welcome to come up and tell me to stop.

That's only happened once. Stunt Rock objected in Pittsburgh, but later said he only did it to see if I'd actually take his records off... I did... We did a collaborative set later on that night.

The amusing sidenote about the $1-per-song music downloads is that I've heard rumours that the artists aren't actually getting anything out of the deal. The $1 apparently covers the set-up costs for the operation and the labels (who probably are taking in some cash on the deal) are looking at it as promo. However, I think it's a step in the right direction.

For those interested in reading a good article about what musicians (not superstars) can expect - here's a link to Steve Albini's timeless words... some of your friends may already be this fucked:

[ www.arancidamoeba.com ]

I have about 20 mp3s on my system. They are either...

a: mixes that I've done
b: tracks that are unavailable (live recordings, demos, unreleased mixes)
c: unfinished material that artists have asked me to listen to so that I can give them feedback.

1. you don't want to get into a penis measuring contest with me on the topic of time/money invested.

2. did you say money spent on equipment - or money spent on music? Buying a cdj setup with your student loan doesn't mean shit...

3. why they hell is your prog trance and house listening ass even reading the cunting hardcore forums??

4. if you're actually insinuating that it's ok for you to essentially steal from artists by playing pirated versions of their tracks - but that artists are being greedy by expecting to get something in return for their work then you are operating from a heavily deluded perspective.

Do you have any idea how much of a toll it takes on someone to run a label or go on tour?

One last thing... all these questions are rhetorical. I'm not interested in hearing your responses to any of these... I'm sure it will be more of the same old drivvel. Go back to listening to your prog trance mp3s (with headphones places - spare the rest of us). Yeah... that's a nice choice. It's the one that goes "ooonts-ooonts-ooonts-ooonts-ooonts-ooonts-ooonts-ooonts-oooonts" and has the female vocal where she sings something ethereal sounding.

Enjoy your moment of zen.

Actually... the first band on was The Oath... I thought they were one of the worst bands I'd seen in a long time - until Your Enemies Friend came on... they were, in fact, the worst band I've seen in at least a decade.

"We're from Los Angeles and I have a new wave haircut. We've got a girl who plays keyboards. No, really... we do. We'll make sure her keyboards are very loud... that way everyone will be sure to notice them. Keyboards in rock bands are so hip right now. We're so hip. Look at my HAIR!"

That band needs to get beat up. I was seriously starting to think that no show could possibly be worth enduring their crappier than crap set when, miraculously, their asstasticness came to a glorious finish.

The Locust were incredible. Beats coming down like a rain of insects. Sound and noise and chaos swarming into your ears and your eyes and your nose. Invading your existence. I smiled as the guy in front of me clapped his hands over his ears near the end of their set. I smiled harded when I noticed he was wearing a Merzbow shirt.

I hate referencing other bands - but I couldn't help but think of The Residents and Torture Garden... some kind of blastbeat laden take on The Commercial Album spawned in another dimension. As I said - I loved it.

Dillenger Escape Plan seemed anti-climactic. They're an incredible band. What I saw of their set was really tight - but after the chaos of The Locust they seemed rather conventional. I stuck around for about six tracks and then went home - exhausted and satisfied.

some techno labels that I keep an eye out for...
(some of these may or may not continue to exist)

Analog
Subvoice (Japan)
2CB
Subhead
Mosquito
Probe
Zet
Creation Rebel
Reload
Solid

MP3s make for convenient promos. IMHO, it's easier (and more cost effective) to upload a mix than it is to sit around burning cds (or dubbing tapes - as we did back in the day).

However - anyone who says "I'm a student - I can't afford records" or something to that effect can step right up and nibble on my balls (left one first please - it's just a preference).

A lot of artists are barely scraping by... a lot of them work shit jobs to fund their passion for music. I know artists releasing records in Europe that work part time jobs as telemarketers, clerks at copy shops, hanging drywall... not to mention the millions worldwide working at record stores.

Just because something is convenient and easy doesn't mean it's not wrong. If you want to try before you buy - then that's one thing... but if you're ripping stuff from online sources and using it in your sets then maybe you should talk to some artists and see how they feel about it.

if progression was really meant to be progressive (as it was in prog rock) - then I think we'd be hearing a lot more material in the vein of Mechanism (check Angel In Descent on IST), Steven Sick (see Frontline Of Sound)... just about every 'progressive' track I hear sounds like a knock-off of something that was progressive a dozen years ago.

How many times can people rip off...
a) the meltdown
b) l'esperanza
c) stella
d) age of love

then again... the dutch gabberhaus scene managed to pull the wool over people's eyes by upping the tempo and most people still haven't noticed that everything is pretty much a knock off of James Brown Is Dead, Dominator or Anasthasia.

odd footnote... I did an interview with Kurt (Jethrox) from DropBassNetwork ( [ www.dropbass.net ] ) in the fall on 1996. At the end I asked about labels that he was interested in, and he mentioned No U-Turn... I hadn't been following jungle at all, so... for about 6 months I thought he had some kind of a grudge against the U-Turn label. I think it all got sorted out at the Heavy Mental party in Minneapolis in the spring. That show was sick.

Belo Horizonte was released as a 12" on Kanzleramt... which is one of the labels I've been picked up lately - their output doesn't seem to be as experimental as it was when they had guys like Morgenstern (r.i.p.), Slip and Sattinger on there... too bad...

btw - there's an old (old!) Heiko Laux record on this label called U-Turn that was released under the name Monobleeding. It's seriously bizarre shit that goes into the territory of early Warp's bleepy-techno, but replaces bleeps with piercing frequencies. Awesome.

I've already got a penis - and I'm happy with it. I'm not looking for another one. However, if there's someone out there who doesn't already have a penis and wants to hold mine - we can negotiate.

I don't think he did a solo set at the last one - although he was part of the Narod Niki project that provided the closing set for the festival.

I find if funny when everybody starts whipping their cock out and laying down the dis when someone asks a simple question.

You guys should be saving that for when someone posts about trance in here... because, really - you start polishing up your schlong and whip it out for the room to see and y'know what happens? Anyone that comes through the door - all they see are a bunch of big dicks... ya rugged bastards.

He lives down the street from me. I see him at the grocery store sometimes. It's been a while, though - maybe he moved.

He got a coupel of albums out on Force Inc (My Way being the most recent)... very interesting work... and he's got an incredible background in underground music.

I tossed the Dan Bell remix of one of his cuts in the techno mix I posted a while back... Techno-12-30-03 - peep it here: [ fishead.gabber.org ]

y'know how girls have the squishy hole and the wrinkly hole? dirtboxing is when you hit the wrinkly hole.

I guess everybody know why he's the "Ass-tech" now...

I heard that Carlos is really good at hardcore dirtboxing, too. Girls best be watch out - Carlos might "casse ta boîte-de-kaka"

I'll assume that you're referring to Doormanymouse on Addict #5... which features vocals by none other than Josh Anonymous - who was a frequent collaborator with Dan for live shows... he's also an incredible DJ and a good producer in his own right. Josh has released a record on his own label Anonymous - as well as contributing a track to the Crippled Children comp (which also featured Snares, Davros and Bombardier). Have A Few... Get Some is another of his projects - in that one he's working with Marty (aka: Abelcain, Davros).

I've got a live version of Doormanymouse from the Drop Bass NYE a couple of years back (actually - I've got the whole set) - and it's brilliant. I think it's Jesse from Crippled Children on the mic during the early part of the show yelling "KILL YOURSELF FOR CHRIST!" "ARE YOU READY TO DIE FOR JESUS?"

I think I weirded people out when I closed out my set with Genital Grinder II by Carcass at the 2002 edition of Party de Noel.

This past year I only brought Motorhead and Turbonegro with me...