Check it out here: It is by Limbo and is like a fine wine, only with more drums and shakers and sound, and less…wine. Yeah.
New hotness from London Rob Masterton. Check out the techno madness here.
So on this one, all your Manchester United fans with your titles, all you Liverpool fans with your European Cups, and all your new-school Chelsea blues…you can all take the back seat to Arsenal 2003-2004, the only side since 1889 to play an entire season unbeaten. 28 wins, 12 draws, EIGHTY-THREE goals for, twenty-seven goals against.
Start here: http://www.youtube.com/watch?v=F8OouWOQxuk
End here: http://www.youtube.com/watch?v=NVKGVd-gIy8
Youtube hero Saharali has just about all of them. Up the Gunners.
So I’m both shocked and pleased to report that I just faxed off a contract that signs four of my songs to Precinct / Primal Recordings, who release artists like Leama & Moor, Tilt, Kosmas Epslion, Ozgur Can, and Probspot.
I also just wrote an ambient / intro tune for a:Loud, that will hopefully be used on their upcoming compilation. It’s called ‘Turn On Mercury’, and I’ll have a clip of it up soon, don’t fret.
Yes. I am angry unto the suns. I curse at the moon and shout down the stars with my hate-filled bile. I’ve been reading Warren Ellis again; does it show?
I am angry, not because of Ellis and the thousands of pages of fine literature leant to me by the immortal Mr. David Miles. No. I am angry because I don’t know why I put the notes in a row.
To recap: I like to think that I can make music, using my fine computing machine. You can hear samples of these attempts just there, to your right.
The problem is that I don’t know WHY they are what they are. I conjure them out of whole cloth, regurgitating this and that and the other thing and trying to sound like whatever I want to sound like that day. Generally, I am pleased with the results. But the notes. The goddamn notes. I do not have the knowledge to process the Cs, Bs, G#s. I can make stupid house music. It goes thump. I cannot make music that soars, that sings choirs back to angels and makes them weep.
I must learn.
Got a chance to listen to the new Hybrid album, I CHOOSE NOISE, and the new BT epic, THIS BINARY UNIVERSE. I highly recommend both, although with the following provisos: the BT should be heard in 5.1,with the videos, and the Hybrid should be heard louuud. Both, however, are pretty fine and awfully inspirational and recommended.
Alright: the verdict on the Hybrid is in, and it’s this: Boys, you needed to find who you had to kill to put your Planet Funk remix and ‘Sleepless’ on this album. And you should have done what ever you needed to do to get them. Because your album is in need of some gargantuan, take-no-prisioners dancefloor monsters. There are some near things, but none of them are textbook Hybrid home runs.
Also, I’m really curious, Mike, about your mixdown choices. A friend of mine said “It’s an album – it’s allowed to have dynamic range.”, and certainly no one likes dynamic range more than me. But I also like songs that I’m going to play in clubs to be loud, tight, and to pounce like a tiger. And the big dancefloor cuts (Dreamstalker, Dogstar, Just For Today, Falling Down) just don’t.
But! The secret track is fannntastic, so there you have it.
I am getting more music released!
‘The Flowers Preach’, which came out on a:Loud yesterday, is a scarybreaks-like-Habersham tune. You can buy the mp3 from Juno here.
And, the latest Royal Assassin track, ‘Turn At Twilight’, has been featured on Pacific Front’s monsterous new compilation, Storm Warning 2. You can get that from Beatport here.
There are also rumours that my remixes of Chris Fortier for Fade will be out soon. Stay tuned…
We have some hot hot hot hot new Tide Pool action for you, in honor of Canadian Thanksgiving. In no particular order, we’d like to thank huge, distorted roknroll basslines, gorgeously progressing techno tracks, and rolling breakbeats. And, of course, our Albertant cohort, Cecil D, who conjured them all up.