Strictly 4 My Underground Homo Deep House Thugs: DJ Sprinkles - Midtown 120 Blues

Sisters, I don't know what this world is coming to sounds like water coming down a staircase btw

table is sorta right tho, you can't really dance to this I mean

Sisters, I don't know what this world is coming to sounds like water coming down a staircase btw

this track is so amazing

thats my fav track

yeah frankly i dont know how u can really get like offended by what hes saying here, i dont agree w/ all of it// its not my worldview but then i listen to rap so im used to this sort of thing.

i think that the spoken bits really make sense to the album & i def cant imagine the album without them -- that would be weird

'this sort of thing' being 'views i dont actually agree with' not inferring that TT's views here are even close to the level of 'offensive' some rappers are

can someone recommend me some more faggy jazz echoey piano music that you know of while we're at it.

I'm listening to Drive-By by The Necks right now which ALMOST fits the "faggy jazz echoey piano music" description to a T.

In that it's literally (1 60-minute piece of) echoey piano jazz with an amazing groove.

checking it out!

not to be jerk, but you can get that entire Necks track here: http://www.mediafire.com/download.php?z0mzbe1ujwq .

i also highly rate it.

lol at "yes just one track"

One of my very favourite albums / tracks of the decade, without a shadow of a doubt.

Back when I ran the library film & music department and we'd play music, this was the single piece of music that garnered the most "wow, what's this, where can I get it" comments from both students and academics. Everyone loved it.

^^^bolsters my theory that Drive-by aurally (orally?) simulates (stimulates?) a good round of the sex...

It gets really spacey about 20 minutes in

Their debut album was called Sex as I recall.

i 4got this album existed

i don't hate it by any means but it's not all that, really now

. He was sitting at a table with the person who taught Madonna to vogue, he was outside the Loft, he was the king is his mind and he's bitter that he hasn't received the attention he thinks he deserves.

I don't necessarily agree with this, and also, even if Terre is bitter then so what? I'll afford his the right to be if that's what he wants to put out (not to mention this is a very personal document, there's autobiography in the arguments and vice versa).

Am I the only one that thinks putting essays in liner notes is more pretentious/annoying than putting it in the music. It seems more. . . underhanded (that's not the right word but I can't think of the correct one)

And yeah, this album is all that.

if you're making a record with a 'message' these days, when the music itself is being increasingly disassociated from the physical medium, you're probably not going to get the message across with sleevenotes.

he'll also release a 30 hours piano solo as mp3 (on a data DVD). and only 30h because of FAT32 limitation.
Midtown 120 Blues is gorgeous btw.

no idea what this sounds like but i just love the title of the thread.

"To preserve the dynamic range of the original recordings this album was mastered without compression and is intentionally quieter than some. Turn up your stereo volume for best playback."

And indeed it does sound AWESOME when pumped loud through a pair of B&W 685s with a meaty amplifier. It's about space and depth and sensuality.

As much as I don't really like listening to music on headphones, you can swim in the depth and richness of the production on some good phones (e.g. the hats on ball'r, which you can feel as much as you can hear)
Terre (in general) has quite a knack for drawing an emotional response through his sound design.

Another vote for those Motor City Drum Ensemble remixes. Great, great stuff.

The various DJ Sprinkles material on Mule (Grand Central, Pt. I, Brenda's $20 Dilemma, Midtown 120 Blues, Sisters, I Don't Know What This World Is Coming To) is one of the strongest bodies of work any electronic dance music producer has assembled this past year.

okay, after listening to this in my car very loud for the past couple of days, i do declare: this is the best thing i've heard all year. everything about it is perfect, from its more ranty moments to its pulsating ambient moments to its totally unbelievably DEEP DEEP house bits. i would really love to hear this album on even better speakers than the ones in my car, or my m-audio studio monitors. might have to go to oakland to do so....

EDB totally OTM, this album is really spacious on headphones..

some of the spoken bits make me think of bogdan raczynski's "fuck you dj"

Thematically it's like a queer-Pipecock, but musically it's totally undeniable - like Moodymann meets Playhouse meets really lush stuff like early Deep Dish or Dubtribe Sound System at their best.

finally got around to hearing this, and i don't know ... it literally sounds ten years old to my ears, and not particularly remarkable compared to the stuff you cite

i just don't care about this record at all. every time a 12" comes out, i listen expecting it to suddenly be interesting. it's not.

okay, i'm gonna be an asshole here, pipecock, but can you explain why? because to me, this is infinitely more interesting than most of what's come out this year, which has tended to ape older sounds without improving on them much...whereas this record definitely apes older sounds (as in yr right, moonship) but improves upon their aural content-- i mean, just listen to the stereo pans in "house music is controllable..." in the first minute, there are three (if not more) recognizable elements moving back and forth, from left to right to left etc, including the strings which start on one channel and end on another every iteration.

i also admit that i am biased because i am pretty into what Thaemlitz/Sprinkles opines on most of these tracks, and find the persona to be quite fascinating.

yeah but fuck you "most europeans"

huh?

not you <3

Another thing I really like about this is the Big Gay Migration narrative, the move from the country to the city. I think for gay people especially there is the feeling that city is a place for escape and also redemption I suppose. I kind of forgive Thaemlitz for wanting me out of his turf a little on this one, even if it reminds me of a kind of "there first" ownership people try to take with music or "scenes." The sound of the train isn't this man/machine Kraftwerk thing, its more like an echo that brings that brings the possibility of escape from the backwaters leaves a trace, like a line heading home from the city. I'm uncomfortable with how it tries to shoehorn this music into a political statement, I feel like it puts too many words into the mouths of the people vogueing on his dancefloor back in '88, but I can really love it as this intensely personal record of a specific time for him, and how it holds this tentative root of community that maybe people come to the city to find.

"In 1986, at age 18, I left Missouri by train, pulling into Midtown Manhattan's Grand Central Station some 72 hours later. Until that point life had, quite frankly, been miserable, each and every day facing verbal and physical harassment as a queer-fag-pussy-AIDS bait. The climate in New York wasn't really so different. But from within my isolation I saw others isolated like myself. One of the places we met, in our self-containment, was on the dance floor. The nastiest and seediest clubs were located in Midtown. That's mostly where I DJ'ed, at tragic places like Sally's II and Club 59. In the early 1990's, Disney bought 42nd Street, closing the places around which transgendered life revolved for many of us. That "community of isolation" was scattered to other cities, other states, other countries. Isolated, still...."

i think at least some of the ppl profiled in paris is burning (or if not them, then other drag ball regulars) WERE kind of pissed about the madonna thing - hard to tell who the person speaking on the record is tho

and i guess you could argue "vogue" might not have happened at all were it not for PiB (some were pissed about the movie, too)

http://i386.photobucket.com/albums/oo305/lejospopo/pib.jpg

major crush on this guy btw

agree!

"okay, i'm gonna be an asshole here, pipecock, but can you explain why?"

i don't think asking why makes you an asshole.

"because to me, this is infinitely more interesting than most of what's come out this year, which has tended to ape older sounds without improving on them much...whereas this record definitely apes older sounds (as in yr right, moonship) but improves upon their aural content-- i mean, just listen to the stereo pans in "house music is controllable..." in the first minute, there are three (if not more) recognizable elements moving back and forth, from left to right to left etc, including the strings which start on one channel and end on another every iteration.

― gonna be a long hot summer for the MS Word paperclip (the table is the table)"

so stereo panning is that big of a deal?!

to me, the technicalities of a record are as close to meaningless as possible. i'm interested in the quality of the music (no matter if it is supposed to be "old school" sounding or brand new sounding), and this just doesn't cut it. and it's not that i disagree with the politics of it, if anything that makes me want to like the record more than i would have knowing nothing going into it. the music just doesn't move me, especially not when compared to so so many great records that have come out this year. i would much rather listen to many other "retro" style releases like the Ron Trent shit for damn sure.

Pipecock even though i love this record it vaguely pleases me that you don't as I wouldn't have expected that.

Though perhaps I should have? Haven't listened to this in a few months but from memory this guy's production style reminds me of Losoul. Do you like/dislike Losoul? I'm gonna go out on a limb and say not much?

i don't own any Losoul records, but i'm not against their music. it can be alright. i guess the same is true with this, if someone was playing it i wouldn't be irritated, but i wouldnt be running up to ID the tracks either. the hi-hats and things are a bit clicks-and-cuts sounding for my taste, but thats the only obvious problem i have outside of the melodies and shit just not grabbing me.

pipecock, stereo panning of three different elements in a syncopated fashion creating aural illusions of space might not be a big deal, but it's good sound design.

i also don't buy your technicalities line, that's complete bullshit.

"pipecock, stereo panning of three different elements in a syncopated fashion creating aural illusions of space might not be a big deal, but it's good sound design."

not really anything to write home about though. i just don't hear anything in these tracks that is any more or less "old" sounding than any other record of its type.

"i also don't buy your technicalities line, that's complete bullshit.

― gonna be a long hot summer for the MS Word paperclip (the table is the table)"

is that right? i mean, i did just release a record that was mixed down to cassette with hardly any EQing or stereo shit on it. and i mix it with some of the most beautiful and technical shit out there like the MVO3 record. none of it matters, its what's in the tracks that makes me buy it.

yeah, and the Disco Nihilist record would sound a fuck of a lot better if the sound design was of any concern at all. being an obstinate technophobe doesn't make one's sound any more authentic or hard, it just makes one seem like an obstinate technophobe.

and just tio clarify: i own the Disco Nihilist record, and fucking love it, but it could actually sound better. still one of the better releases of the year.

I finally got to hear some of this, and I really like the spacious and soft feel of the production overall. I was a fan of his ambient stuff in the early 90s, and this album doesn't seem a far cry from that stuff in mood. Stand-outs for me are 'House Music is an Uncontrollable Desire', and Grand Central pt. 2.

also I really want to thank the table is the table for that The Necks song. it is fucking great.

yeah, and Second Annual Report and Radioactivity would sound a fuck of a lot better if the sound design was of any concern at all. being an obstinate technophobe doesn't make one's sound any more authentic or hard, it just makes one seem like an obstinate technophobe.

and just tio clarify: i own Second Annual Report and Radioactivity, and fucking love it, but it could actually sound better. still one of the better releases of the year.

ha ha ha are you srsly comparing yourself to TG and kraftwerk? your boundless egotism fucking takes the cake, my man!

i'm sorry if that sounds mean, of course it is your prerogative to follow the methodology of whatever heroes you choose, it's just that like lenny bruce and bill hicks i am bound to speak truth to power.