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

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.

re: the bit above about this not really being an actual "movement" - it isn't, in so far as it's been labeled and people can knowingly subscribe or unsubscribe to it - but I'd wager there are hundreds of DJs and would-be DJs out there who get off on krautrock and psych and prog and who knows what else, and also happen to want to spin beats - and then end up mixing them all up. That's really why I find this thread interesting, a place to talk about these kinds of incidents.

The only reason I initially considered it a movement was after seeing Harvey, seeing Run-N-Tug and thinking huh, a bunch of dudes with longish hair and beards playing the Doors' American Prayer mixed with disco.

To me there's a very specific aesthethic that's hard to define, but actually relates to indie-rocks recent ironic or not interest in so-called Yacht Rock, just an interest among disco DJs playing not only classic rock, but smoothly produced 70s stuff and even 80s stuff that was written off as being pretty cheesy for quite a few years. Sure, Steely Dan's Peg and the like have always been dance/disco classics...or have they? But it's deeper then that, and I find myself playing all these classic rock covers...Locomotive Breath by Cat Gang, Les Rocket's On the Road Again, For Your Love by Chilly, down to more conventional disco covers of rock songs like Queen Samantha's The Letter or Revelacion's House of the Rising Sun. I think maybe it's all indicative or rockers getting into disco, whether for the first time, or long-time disco djs rediscovering their childhood rock faves and just having the freedom to mix it all up. I think Harvey helped pave the way to that, at least from what mixes I've heard.

On a practical side, especially when playing to rock crowds, a lot of this stuff works really well.

i think that optimo are different to the cosmic/disco crowd, psychout seems to put forward their view of psychedelic in a similar way to chuck eddy's definitions of genre. i think optimo have a magpie approach that wedges disparate things into their own vision.

lindstrom/terje/idjuts et al are purists through and through, and i think that beardo house does have that feel of soulboys with baggier, browner knitwear. and i think they fit into the disco/cosmic canon in a way that optimo just don't want to. i love both approaches tho,

the todd terje edits i have are the best of the new crop, i think. he thickens the tracks and extends them without you really noticing as a listener. he reminds me of danny krivit in that respect, who is the don of the edit style. i like terje's new-age picks too, 'dancing digits' and dave samuels' 'dance class'

who did that edit of andreas vollenweider's 'belladonna'? that is so nice!

todd terje's edits are really great. his tangoterge edits on supreme have been particularly good. his turtles, 'aquarius' and kraftwerk edits change those tracks but at the same time make you think they should always have sounded like that.

I think, on the big pitcure level, dominique, I always say that music seeemed really, and I say this a lot, "stratified and ghettoized" through the 90s. Even within genres there were distinct threads without tons of people crossing their boundaries, while some of the more interesting acts that did totally fell through the cracks and dissapeared. I think post 2000 there's been a big breakdown in those walls.

the track cosmic is one of my faves. kind of done in a ron hardy style. could up it if anyone's interested. anyone got any others to share?

who would have thought greg khin band would have been in my crate five years ago ?
not me... i also suppose as i get older i understand the need for nostalgia and i gives me
some perspective on how (too) many years i've been doing this...

incidentally, there's a steppers scene in chicago with djs who have the same ambition
to melt the faces and hearts of dancers with obscure tunes... new kids on the block (extended!) anyone? i guess that's a whole other thread...

really? i guess i haven't heard enough of them. that cosmic one is super repetitive, similar to the stuff that ron hardy's nephew has been putting out, but i didn't hear a lot of seams at a casual listen and i don't know the original, so who knows. maybe is a product of doing them on a reel-to-reel? i image it's a lot more complicated to do crazy edits, but then steinski and the latin rascals managed ok.

i heard one of them is a silver apples tune. anything interesting done with it?

btw, someone posted the rub n tug beastie boys remix here:
http://www.djhistory.com/forum/showthread.php?t=13843

Like why must there be these discussions of new non-house/techno DJ forms without someone suggesting they are replacing the latter because it's stale etc. No offence to gato, it was just that post that got me thinking about countless articles over the years.

Is it a self loathing thing? Why must these new trends REPLACE house and techno? Maybe it just shows how old house is by now that people now constantly talk of its impending to death, like rock.

See I think the reason for the success of this stuff is to do with the a similar back to basics ethic which has had a real presence in house and techno too recently. The way dance music, or whatever we need to call some of the newer forms, beat music which DJs are playing sort of bleeds from genre to genre at the moment, and this seems to me what is making it all so good.

There are so many "unifiers" at the moment, like for example "Eurodans" by Todd Terje, it's really peculiar to have the older DJs in Dublin who play alot of funk and soul and disco in bar type settings and the young guys all talking about the same record, I mean utterly peculiar.

I dunno, I just don't like to isolate this sound from house and am probably way over paranoid about any biase towards real instrument music, not sure if it's fair to accuse gato of such a biase, I just was keen to bring up my initial point.

ronan. i don't think there is any bias towards real instruments, at least i hope not. for me, house and techno aren't being replaced, they are just being enhanced by playing other things along side them that seem to sit well amongst the current sounds. it's funny that every time i play something like say 'supernature' someone will ask what it is, presuming it is something new.

i don't really get the fuss with 'eurodans' though. imo, he has done far better tracks that haven't caused nearly as much buzz.

anyway rub'n'tug already use 303 tracks in their mixes, harvey never really "left" house, etc etc ... so it's sort of jumping to conclusions to posit a house / beardo divide.

we're already halfway to detroit techno by playing manuel gottsching and so on.

west coast house was there 10 yrs ago w/ respect to sampling boogie records, post-punk and ESG.

etc etc ...

also still waiting on the YSI for the rub'n'tug mix for aNYthing ... (AHEM)

and at the whatever we want website, there's promise of an mp3 store, fingers crossed...

if you look back you'll see I said a version of these sentiments as well, but to clarify, for myself as well as this thread, when I talk about the stratification of stuff, it's not to knock a specific genre. I'm as into "house music all night long" as anyone, but at the same time, part of me digs the broader approach. I really enjoy the sets that I do and am suprised that lots of people don't, that they'd prefer to hear me just play old-school hip-hop all night, or 80s all night, or house all night, or detroit techno all night. I'm trying hard to play all kinds of stuff in a way that works and makes sense and am suprised more people don't feel that. Maybe now they're coming around.

The ironic thing is that during the birth of House, it was an exceptionally broad/open/eclectic thing, whether you're talking about the deep house Knuckes/levan kind of thing pulling from disco, rock, world music whatever...or the WBMX mash-up of deep house, italo-disco, pop music and early house. I just find most "house" djs have a much more narrow view.

I find it funny that it works a parallel path of the rocker/celebrity DJ mash-up can't DJ "eclectic aesthethic".

I know stirmonster hates the term "eclectic", perhaps that connotation is why?

And not to get all DJ theory or whatever, but I'm not saying my eclecticism always has to-or wants to-flow so smoothly...jarring changes in style/tempo/volume, etc, can be great.

What is this in reference to?