A to Z E.D.M.

[The Dog.]

No need to apologise. The lass has clearly spent an hour bobbing up and down, twiddling knobs and smiling nicely at the camera just to put a video of anset on YouTube.

Whilst I agree that is exactly what this video is, she’s also a talented musician and composes all her melodies on keyboards, piano etc and produces the arrangements. Not just a pretty face who tweaks knobs in this case. ?

 

[GreiginFife]

My classics entry for the day.

 

[GreiginFife]

Probably one of the best openings to an album that I've heard. Atmospheric, melodic, emotion provoking whilst remaining very chilled.

The rest of Tri-State is also a work of art.

 

[GreiginFife]

I'll just leave this here for anyone still viewing this thread

 

[VVega]

Has anyone seen this? Craz-eee
https://www.bbc.co.uk/news/entertainment-arts-57518573

 

[VVega]

 

[GreiginFife]

Has anyone seen this? Craz-eee
https://www.bbc.co.uk/news/entertainment-arts-57518573

Absolute madness. $100M for his entire catalogue equates to about $100M per unique sounding song...

 

[GreiginFife]

Funny you posted that, it came up on my Spotify prog playlist the other day.
Not entirely sure what to make of it. Its clearly a nicely sequenced effort but its just that I struggle when people take the classics, and I mean the real ground breaking classics, and "reworking them" (apparently its the young people speak for a remix to make it sound more 'fresh').

Children is just a completely iconic tune and anything else to my ear sounds like a cheap rip.

Just my opinion of course.

I also felt the same when I heard the David Gravell remix of Carte Blanche, just no! Leave it alone. (Same with his remix of Ayla).

 

[VVega]

Funny you posted that, it came up on my Spotify prog playlist the other day.
Not entirely sure what to make of it. Its clearly a nicely sequenced effort but its just that I struggle when people take the classics, and I mean the real ground breaking classics, and "reworking them" (apparently its the young people speak for a remix to make it sound more 'fresh').

Children is just a completely iconic tune and anything else to my ear sounds like a cheap rip.

Just my opinion of course.

I also felt the same when I heard the David Gravell remix of Carte Blanche, just no! Leave it alone. (Same with his remix of Ayla).

Generally I agree but on another hand I see it as an introduction of the new generation to those classics.

It’s a bit like some don’t like any movie remakes but for me they can work some times
E.g Thomas Crown Affair of the 90s is enjoyable, the Departed remake of the original Infernal Affairs is not so much (for me).

 

[GreiginFife]

Takes me back to my early introduction to Dutch hardcore, in a little record shop in Dunfermline where this was playing and I loved it.

 

[VVega]

Takes me back to my early introduction to Dutch hardcore, in a little record shop in Dunfermline where this was playing and I loved it.

My Hardcore discovery went something like this: Charly Lownoise & Mental Theo -> Westbam -> Marusha -> Mayday compilation

 

[GreiginFife]

My Hardcore discovery went something like this: Charly Lownoise & Mental Theo -> Westbam -> Marusha -> Mayday compilation

I kinda went the other way. Introduction to dance music was acid house and a bit of breakbeat, morphed in to Italo-style around 91/92 with the likes of Usura, Love4Sale, Digital Boy et al and then on to the emerging, faster Scottish sound from the likes of Suburban Delay (Energy Rush was a masterpiece) and Ultra Sonic (Pulse is still a corker to this day).

I loved Q-Tex and the bouncy Tartan Techno sound but fell in love with the harder, faster Dutch gabber sound in late 93/early 94 with Chosen Few, Reyes and then I discovered Ruffneck Records and I was hooked.

Still listen to a lot of Mokum Records newer stuff but mainly the archives of Dutch goodies.

 

[BubbaP]

Funny you posted that, it came up on my Spotify prog playlist the other day.
Not entirely sure what to make of it. Its clearly a nicely sequenced effort but its just that I struggle when people take the classics, and I mean the real ground breaking classics, and "reworking them" (apparently its the young people speak for a remix to make it sound more 'fresh').

Children is just a completely iconic tune and anything else to my ear sounds like a cheap rip.

Just my opinion of course.

I also felt the same when I heard the David Gravell remix of Carte Blanche, just no! Leave it alone. (Same with his remix of Ayla).

You may well be right for the specific, but the remixing and sampling etc. was part the culture of this genre of music IMO. Plus of course one man's "it's a crock" may be someone else's "it's epic". So live and let live from me ?

 

[BiMGuy]

One of my favourite sets and the one that got me into the harder side of dance.

My mates older brother went to the Big Bang and got the video. I was mesmerised.

Me and a mate managed a couple of Fantazia/Dreamscape events before it went Happy Hardcore which I was never into.

Most of our group were into more commercial dance in the 90s. So we tended to go to clubs playing that and house music.
We did have a local club that had two floors. Which moved from disco and house, to techno/ hard house and commercial danc in the mid 90s. Which was great as it kept everyone happy.

 

[GreiginFife]

You may well be right for the specific, but the remixing and sampling etc. was part the culture of this genre of music IMO. Plus of course one man's "it's a crock" may be someone else's "it's epic". So live and let live from me ?

Sampling, yes. Always been a big part of the dance music scene.
Remixing yes, bit usually within the confides of the time of the track and usually fully credited to the artist with a (xxx remix) notifier.

The issue I have is with these so-called "reworks" where they basically take the whole classic track and change little bits, years (and in a few cases, decades) later and then put their name on the track title.

I acknowledge where both you and VVEga are coming from, I just have my own view on the treatment of classics.

Younger crowds should be able to find and hear classics like Children, Ayla, Carte Blanche et al but it, IMO, should be because they are classics and not a "fashonable" remake or rework where they don't even realise what the original is and that it is the classic. Many of them will just think that its a Tinlicker track featuring some bloke called Robert Miles (because these days no-ome can do anything in music unless theres a "featuring" or ten folk credited in the making).

Jesus, I am old ?

 

[VVega]

Many of them will just think that its a Tinlicker track featuring some bloke called Robert Miles (because these days no-ome can do anything in music unless theres a "featuring" or ten folk credited in the making).
Jesus, I am old ?

So true Tell this to Robin - Dancing on my own - known to the new generation as by Calum Scott.

 

[BubbaP]

.....

Jesus, I am old ?

You and me both! ???

 

[BubbaP]

....

I loved Q-Tex and the bouncy Tartan Techno sound but fell in love with the harder, faster Dutch gabber sound in late 93/early 94 with Chosen Few, Reyes and then I discovered Ruffneck Records and I was hooked.

Still listen to a lot of Mokum Records newer stuff but mainly the archives of Dutch goodies.

Liking the sound of "bouncy Tartan Techno" - when time permits do pop a couple up ?

 

[GreiginFife]

So true Tell this to Robin - Dancing on my own - known to the new generation as by Calum Scott.

Yep, this is exactly what I mean. Philistines ?.

 

[GreiginFife]

Liking the sound of "bouncy Tartan Techno" - when time permits do pop a couple up ?

Maybe less "tartan" than you are imagining ? (not quite Acid Folk by Perplexer).

It was a phrase coined by the late, great Tom Wilson (RIP) who, through his 'Steppin Out' radio show on Forth FM, introduced the East of Scotland and the North East of England to the first strains of dance music outside the realms of the popular charts.

His Saturday night broadcast had people driving across the border to Jedburgh and Kelso just to get reception to listen and he brought us the introduction of Ultra Sonic, QFX, Q-Tex, Suburban Delay and the Italo Style that was also big at the time.

Loads of new talent was emerging and Scotland found itself at the forefront of the push towards 4/4 beat becoming huge where the breakbeat sound dominated down South. This Scottish talent (along with a big bloke from Newcastle called Guy Kneeling AKA Bass Generator) gave us a unique and bouncy sound that was lighter than the Dutch Gabber that was also making its way over with Holy Noise, Rotterdam Termination Source and Human Resource leading the charge.

Tom started to refer to our homegrown sound as Tartan Techno and from there it explodes with Scott Brown (and his many, many aliases) smashing tunes out along with Gordon Tennant (GT Sampler), Marc Smith and the aforementioned Bassy G.

1994 through 1997 saw some amazing stuff come out of this tiny country until the breakbeat down South died off and was being replaced by 4/4 sound of Happy Hardcore.

This started a schism in the scene with a divide that would eventually cause the scene to dwindle.
Hixxy and his Essential Platinum crew dominated but the sound was limited and was always going to be confined by how similar a lot sounded.

Sharkey tried to create a breakaway 'Freeform' genre of almost trancecore like style with Eclipse, Fury and Helix amongst the pioneers. It is a style that still sounds fresh today because it was so far ahead of its time.

The scene eventually died due to police and political pressure to close clubs and events down.

No idea why I went on that little trip down memory lane/lecture... ?

But Tartan Techno was a great sound and properly bounce your body bouncy...