BEARDO DISCO (finally fixed for vahid) - not idjuts / lindstrom - harvey, rub'n'tug, map of africa

i play this soundtrack a lot, but i've never seen the film. needless to say, tv volume is real high right now.

i don't know if that's "beardo house", but Carpenter certainly falls within that bumrocksy "LES dollar bin" aesthetic.

I have an Escape From LA UK 12" of drum and bass versions of the theme in my out pile at the minute. It's crap.

there's this italo/kosmiche/random obscuro DJing approach, then the Pica Pica Pica/Lift Boys/BD Cone Toaster/3xc3pt3r (dubious) beatmaking. I see them existing in parallel, but it's frustrating how they won't meet.

where is the point of common origin? Gottsching?

But that's the best kind of movement! And all we need to do is get someone to write an article and then it'll be real! I might do it for Stylus.

Carpenter gets total props from the Italo fiends.

I knew this, I was just started imagining if he made a disco concept album with vocals (by famous people) and stuff. Someone should do a Broadway musical of Escape from New York or They Live.

I'd love a YSI Telephone Thing.

you NEED this album: Unit Black Flight - Infiltration and Extraction

Also, does Betty Botox fit into this Beardo Disco?

time for a new eyboard!

i don't have 'black skin, blue eyed boys' digitised.

for those who absolutely need an id for something from one of those mixes, if you yousendit a clip and post it on djhistory, you can usually get an answer pretty quick. the most extensive cosmic threads on there mostly happened back in '03, so those guys have had the time to figure a lot of it out. it's only failed me once...

they also had a thread on beards recently.
http://www.djhistory.com/forum/showthread.php?t=13672

the relationship between italo disco and the cosmic scene, if you believe baldelli, was pretty nil. he says he didn't like or follow much of that stuff and was much more into the german electronic stuff. i think he said sky was his favorite label in that red bull interview.

for the tiscali site, you have to email the guy for a password. you may also have to download the opera browser if you aren't handy with ftp.

i think somebody once said, "it's not what you say, it's how you say it"

applies equally to djing i'd say.

otm. i much prefer it slowed down. not part of the cosmic thang but probably the most famous example of a song being slowed down and then becoming massive as a result is 'flesh' by a split second which was actually re released in its' 33.333 + 8 version.

so, aside from jim burgess, i can't think of many examples of american djs doing the 45 @ 33 thing back in the day. anyone know of any other examples. i wonder if that would have happened more if it was more common to press 12"s at 45 here.

but some of the other new beat records were part of the cosmic thang? I listened to that Tutu mix yesterday and was surprised to hear Logic System and Carlos Peron one after the other.

I think the Cosmic thing was about whatever the hell fit. There's also crossover with the WBMX DJs, who certainly play faster and more italo-disco, but also play a lot of the new wave/pop oddities that show up in the Cosmic mixes as well.

i think the fact that most european 12"s are pressed at 45rpm as graham gouldman mentions is a big factor. i think djs all over europe have always done this. the reverse also happened - when the first breakbeat rave records (eg shut up and dance) started coming out, there were so few of them that it became common to play instrumentals of us hip hop records at 45 to fill out a set. i still play schoolly d instrumentals at 45 instead of 33.

interesting... i can't say it really makes me feel like dancing. maybe in the right time and place - or with the right drugs.

i have to say it's much easier for me to like something slowed than sped up, but that just makes it more satisfying to find something that works sped up. i was messing around with the break from james gang funk #49 today. sounds pretty nice at 45 and then there's a pause at the end where the guitar comes back in where you can switch it back to 33 without being able to tell. some dj somewhere has to have figured that one out before though.

conversely, with speeding things up, you get this condensed, almost shimmery or polished feel. a bit disconcerting sometimes.

YES PLEASE

BIG BEAR / FULL PUPP / HAIRY CLAW / BEAR FUNK / BEAR ENTERTAINMENT / ETC family

RONG MUSIC / THICK AS THIEVES / BEN COOK / DJ SPUN / DJ HARRY / ETC family

FREESTYLE LTD AND OTHER EVEN MORE OBSCURE RE-EDIT LABELS

the elusive UNIVERSAL INDIANN

A THEORETICAL MEETING-OF-MINDS WHERE CLASH+BLONDIE : RAMMELZEE + GRANDAMASTER FLASH :: HARVEY + IDJUTS, ETC : MOODYMANN + THEO P

The DJing on that Rub 'n' Tug CD sounds more like old Block Party hip hop tapes than it does any regular house DJing, a feeling intensified by the inclusion of the Bronx Dogs track that mashes up parts from Bambaataa's Death Mix

Also, the Re-sdit scene'll surely only get bigger as more people use digital equipment, whether CDs or Ableton Live or whatever (meaning, no need to press 'em to vinyl.)

Does Gamm fit into all of this? I guess not quite.

Nice one.

feeling a bit beardo tonight

need to watch Northern Disco Lights one of these days
in the meantime, enjoying the soundtrack: https://paperecordings.bandcamp.com/album/northern-disco-lights-soundtrack

rub n tug campfire mix is so classic