track down the Dreamfish album on Rising High... Mixmaster Morris & Pete Namlook... insane ambience from '93...

It'd make for a somewhat complicated set-up, but you could run the output from the Rane mixer into a line-in on the Pioneer... it'd be doable, and could have some interesting results (ie: being able to easily fade up/down on both decks without changing their levels in the mix... while running something on cd on another channel)... you'd also be able to make use of the effects on the Pioneer, to alter what's coming out of the Rane mixer... although, because the channels are merged, you obviously wouldn't be able to isolate just one of the records playing without taking the other one out of the mix.

shouldn't be too hard to find... KLF Communications released it in the UK - it was licensed to TVT for north america... as far as I know it should still be available on cd... which means chances are it can be found online.

Chill Out by The KLF. Brilliant shit. Imho, it's still the reference point for what an ambient mix can and should be... a solid hour that takes you on a trip, condensed down from a marathon 11-hour session at Trancentral... featuring Jim Cauty, Bill Drummond, Alex Patterson... fucking amazing.

...and I've seen a disgruntled MC, after getting unplugged, turn around and swipe the counterweight off one of the turntables - pocket it - and walk out of the party... leaving one of the decks completely crippled.

the two Grime comps on Rephlex are well worth checking out... the second one, in particular, is really solid... sides by Loefah and Digital Mystiks, as well as a full LP of Kode 9.

well... looks like the butter's already... but I can't imagine how much maple syrup would be required to make that edible.

I played an afterhours show in Winnipeg with Robbie Hardkiss in early '97... very chill dude... and I can still hear the mix of Elton John's Rocket Man that Scott Hardkiss dropped on the mainstage at Furthur ('96)... I asked Robbie about the Elton John mix and he said they wanted to release it, but only cut a few tests before finding out that they weren't going to get clearance for it.

Still have a bunch of their early records... lost touch with their direction at some point... but there is some gold in the records they released.

As for Autechre... played with them, Spacetime Continuum and Mark Broom (Winnipeg '96) when they were touring for the Tri Repetae album. One of the most brutally hard shows I've ever heard. Awesome stuff... everything was so heavy and distorted... like 2nd Bad Vilbel meets Merzbow. Incredible, influential and a night that really made me rethink what Warp Records was all about.

Love their GESCOM stuff immensely, too.

Fuckin' Manitoba. Tack this one onto the list of reasons I got out of that place... as for whether it fucks up your life, I'd go with yes... it's a deeply humiliating and traumatizing event. Several very close friends have been through it, many of them required a lot of therapy... one of them, who actually went through with pressing charges against the posse involved in the attack on her and a friend, was subjected to YEARS of further harassment. I remember being over one night, maybe five years after the incident, and she was still keeping a log of threatening phone calls. At that time her court case still hadn't been resolved.

Aside from the being made to feel like a victim whilst pursuing justice, many of my friends dealt with immense feelings of shame related to what had happened... some of them felt guilt for even being in a situation where the crime could occur (and keep in mind, it's not always random strangers... in one case it was a neighbor, the friend who went to trial was assaulted by a group of guys she regularly bought pot from)...

Public castration is still a good idea. Guys who commit this kind of act should surrender their manhood, they are a disgrace to my gender... and an embarrassment to our species.

for the record - looks like the judge's decision is being subject to a review.

[ www.winnipegsun.com ]

when I was in Winnipeg over the holidays there were a bunch of stories in the news about making changes to the laws regarding bouncers... currently it's mostly unregulated, but there's a growing desire that it be required that they're bonded, that they'd have them go through a comprehensive training course, and be overseen by the same agency that looks after security guards and private investigators. This is all response to a number of severe beatings administered by bouncers (including at least a couple of deaths) over the last few years.

Power trips are scary shit... on the other side of things, when I worked in bars I saw bouncers having to deal with some pretty fucked up situations... drunks getting a little too friendly with waitresses, fights breaking out (involving concealed weapons - or improvised ones like broken bottles and glasses)... I'll never forget the time I heard a bouncer let out a bloodcurdling scream when a guy nearly bit off part of his finger while he was trying to separate a bunch of guys trying to start a brawl at closing time.

I really want to MC as MC M.C. (Mute Cripple)... I'll sit in a chair, with the mic in my lap... and I won't say a word. The signal for the rewind is when I fall out of my chair... the DJ has to reload the track, then run around the turntables to help me back up.

It's a protest against the MCs that jump around too much, and don't know when to shut up.

I have serious beef with some MCs... not all of them, 'cause some are respectful... but I've played gigs where they just plug their mic in without asking if it's ok... fuck off... I once let a guy check and set all his levels and right when he signaled to me that he was ready to go, I reset everything and unplugged him. "If I want vocals - then I'll play tracks with vocals."

He was pretty pissed and asked why I let him go through all the trouble of getting his shit set up... I told him it was because I knew he'd never try to pull that shit on me again.

(for the record - this was in Winnipeg... so it wasn't a Montreal MC)...

Who said anything about going to court. There was a period when I was having problems with promoters in Winnipeg... so I went with a contract that said (among other things), that I was to be notified of my set-time at least one week in advance of the show (so that I could prepare something appropriate for that slot). It also stipulated that any changes that would have an effect on when I played needed my approval. It also required that I was to be paid at the door when I entered the venue, and that if the money wasn't there that I would leave - and it would be up to the promoter to explain the situation...

In my personal experience, if you show people that you're serious about what you're doing, they'll treat you with a lot less disregard. There's always room to cut people some slack, and it's not about being a total asshole... it's about making sure you're in a position where you can do what's best for you.

of course... doubles, even.

nice...


speaking of trackers, there was a limited run of the last Stagediver 12" that came with a data disc containing .wav versions of all the tracks (so you could compress them to your preferred .mp3 ration)... but as an added bonus it contained all the original tracker files, as well as an octamed emulator so that you could load them on your PC and play around with them. Way more interesting to me than the standard 'download card' that seems to come with everything nowadays...

highly recommended...

[ www.tuckermax.com ]

especially 'Sushi Pants' and 'Tries Buttsex... hilarity does not ensue'

I'll see those and raise you Octamed and FTII.

it should also be noted that Hakim Bey has written articles for NAMBLA publications (as I recall, this was mostly under his given name: Peter Lamborn Wilson)... there's a fair amount of creepy imagery in the TAZ book, especially if you take that history into account.

I read it years ago. Before it was officially published several chapters were circulated as part of the newsletter that Thee Temple of Psychick Youth put together in the early 90s... the idea of poetic terrorism is interesting, but on the whole, the book is a pretty problematic work.

try using a black marker... draw lines radiating outward from the centre of the disc - it will cause static skipping. If you angle the lines one way or the other you can somewhat control the amount that the cd skips forward or backward... afterwards you can use hairspray and a cloth to clean the cd...

been a while since I've done it - but it should still work... at any rate, can't be any worse than taking a knife to the playing surface.

Even Furthur... slightly north of Chicago... total insanity... Steve 'Silk' Hurley, Laurent Ho, Richie Hawtin (the week that Consumed dropped), Doormouse, Heiko Laux, Woody McBride... three days of total insanity on the largest sound system I've ever seen (bass-bins each had three 21" subs)... during Hawtin's set you could feel the vibrations through the ground from nearly 1km away... seriously retarded...

Blackmarket put on the Venetian Snares show at the SAT... crazy night. c64 from Toronto played, as well as David Kristian, Blake and myself... Na brought Snares back to town (along with Fanny and Tense) for Zygote a few years ago... but I think the show he did at Casa del Popolo in late '02 was probably the craziest one I've seen out here - never seen that many people rammed into that place. Vromb and Blackmarket were also on the bill for that one.

Squarepusher at the SAT (which was for the grand opening of the St. Laurent location), was a good night... if I recall correctly - Chris Clark and Plaid played there that same weekend - which was also a pretty ridiculous show.

For a while there was a core of people actively working to build up a base for idm, but it seems like it never caught on like it could have... was brilliant when the Flexout crew brought in [ End.us ] and the Sonic Terror posse... it really felt like something could happen... just never took hold.

Jirku's done some rather phenomenal work, but the first time I heard the term 'glitch' being bandied about was well before he was around when Coil released their "Worship the Glitch" set on the Eskaton label... this was released in '95... and is a mostly ambient release with tracks reportedly built around sounds that occurred when things went wrong in the studio... it doesn't necessarily connect with what we think of as glitch today, but it's the first time I remember hearing the term associated with music.

Going back earlier there are a ton of old 80s mixes 12" mixes that have some pretty fucked up bits built into the track that sound pretty damn glitched out (the 'electrode mix' of Alien Sex Fiend's Ignore The Machine provides a good example - as does the structure shattering breakdown towards the end of New Order's Dubvulture.... which sounds like a cd skipping)...

Markus Popp's Oval project is something else to look at... as he worked a lot with skipping cds... but, for me, the seminal work on that field is the Evolution Control Committee's little known Compact Disctructions package (a binder containing images on notes on the playability of cds after they'd been vandalized... it also included a cassette of interesting results, and a random cd for you to experiment with... not sure when it was released, but I made use of techniques he shared with me on my 1994 cassette-only release Necrophilia Victim's Hotline by The Bastard God)...

y'know... I hate to interject here, cause most of what you've thrown out there has been spot on... but I have to clarify something, because originally the term break came from the 'break' in the song... the brief solo where the drummer gets a little chance to shine... hence you have named breaks that originate on records that are seen as priceless in the hands of crate diggers... it could have just as easily been called a fill... it was only later on, when people really got into chopping up the break, that people started to associate the break with it being broken - but it's a bit of a misnomer to assert that the term comes from the fact that the beat has been broken up in some way.

a brief history lesson on just one break...



for the record, there are a ton of other breaks out there; Skull Snaps, Funky Drummer... hell, there's even famous breaks on tracks by Kenny Rogers (Tulsa Turnaround - check it out) and Fleetwood Mac's Christine McVie.

check pretty much everything Mick Harris has ever been involved in... holy shit...

to be fair; that's simply the sound that found the biggest home... and for FLA it was really just the Millenium album (which Leeb viewed as an experiment, but Fulber - working closely with Fear Factory at the time - wanted to continue)...

You and I know that there was a lot of stuff going on outside the confines of what the major labels were distributing... some artists were pushing the boundaries of sampling (ie: Negativland, Evolution Control Committee - and other artists associated with the fledgling Illegal Arts label), the noise community was also viewed as an offshoot of traditional industrial... and there was a ton of that going on in Japan (Masonna, Merzbow, Aube, CCCC, Incapacitants, Geregerigegege), Stateside (Trance, Illusion of Safety, Cock ESP, Princess Dragon-Mom)... not to mention all the weirdness that the World Serpent folk were doing in the UK.

anyhow - this is derailing the thread somewhat - but at the same time, what's happening on the surface doesn't always correspond with what's going on in the underground... in fact, it's almost impossible that it ever really does... even now, when music can theoretically reach an incalculable number of people in a seemingly infinitesimal amount of time, there is always bound to be some lag... and when something gets caught in the public eye, and money starts to really change hands, there is often a financial value in sticking to a certain sound that's been identified as palatable to the masses (ie: get used to dubstep remixes of pop songs, because there are likely to be a whole lot more of them)...

anyhow - didn't mean to get into a rant, or shit on anyone's parade... because the bottom line is - like what sounds good to you, and check out what you're interested in... music can generate a sense of community, but you can enjoy it even if it doesn't.

nice work... some nice, dark atmospheric stuff in here - from the pre-techstep days when people were putting a lot more time into chopping up their breaks.

new things...

The Shigeto album on Ghostly is great, if you're into shit like Flying Lotus, Mono/Poly and Slugabed...

really been enjoying the Grimes albums on Arubutus... halfway between coldwave and Cocteau Twines... like X-mal Deutschland with better effects pedals... ymmv.

most of the Captured Tracks label - especially Cosmetics, Wild Nothing, Minks, Beach House...

Speed Dealer Moms record on Timesig is insane... collaboration between VSnares, John Frusciante (ex- Red Hot Chili Peppers) and Chris McDonald (SKM-ETR, Alison Project)... vinyl has been delayed, but the digital should be out soon. Heard the whole session over the summer; improv, acid noodling... great stuff...

Solar Bears on Planet Mu are one of the best things the label has put out in the last year... the Rudy Zyglado release on the same label is really nice, too...

on an indie tip: Lower Dens, Lost in the Trees and Pains of Being Pure At Heart (which should win a prize for having one of the worst band names I've ever heard) are all getting a lot of spins... and for sheer ridiculous brutality, the new Bring Me The Horizon record - which I fully expected to hate - is one of the most retardedly insane things I've heard since the Shape of Punk To Come by Refused dropped more than ten years ago.

Genghis Tron is a lot of fun, too... but they've been around for a while.

sweet... just dug up one of Dano's old Mokum releases the other day... some sick stuff on that... also nice to see Akira and Schizoid finding their way onto ISR.... they're good dudes.

ahh... the Singing Saw at Christmastime... like I didn't hear that enough at work this week.

btw - Byblos on Laurier serves up amazing hummus...

Hollow Bones... when I picked up the Syl Johnson box my ex-roomie was over and we were going through it and he kept spotting samples... Cypress Hill and a few others lifted bits from his records, too.

James Carr - You Got My Mind Messed Up



...moving into cuts with a bit more of a vicious bite...

awesome... Roland Kirk does a great cover of this one, as does Lyn Collins...

lately I've really been digging on Syl Johnson... Numero Group just put out a 6LP collection of his work... great stuff.


Elton John's early 70s stuff is pretty intense, too... this one, in particular, mixes a dark theme with an upbeat tune - then drops into something else entirely...

so sorry that I didn't make it out the last couple of weeks... especially because I know that excuses, like opinions, are as plentiful as assholes (ie: everyone always has one)... but thanks so much for providing a venue that was always guaranteed to be a good time (first at Saphir, and again at Passeport)...

much love... and I'm looking forward to the spring.

I play... and poorly at that.

...but Drunken Grandmasters Rules* always make things more fun!


* every time you capture a piece (pawns excluded), your opponent buys you a shot...

I feel like I'm too old to comment on this thread... but I'm taken, which hopefully reduces the creepy-old-man quotient... so I gotta give a shout out...

seconded.

from the days when photos had rounded corners....

haha... that's a line-up that should calm the drunkards invading the DJ booth and screaming for dubstep!

I know how to do most of that - it's more a question of harvesting the file from another PC that isn't online... and I'm lazy.

always a pleasure to hear the cuts that set the bar for the beat chopping that was to come... slick work - surely this mix deserves more love than this!