Genre: Electronic, Hip Hop. Style: Abstract, Breaks. And that title track: a major departure in jazz being a complete composition, based on one, long continuous melody, with no repeated passages, letting the solos and interludes between them develop, and indeed exhaust, the musical implication of the main theme.
A masterpiece. Label: Verve Records —Decca — Series: British Jazz Explosion. Country: E.R.C. - Something For The People (E.P.) (Vinyl). Sept Label: Leaving Records — LR Released: Genre: Electronic, Jazz. With a characteristic keen eye for detail Cacophonic are delighted to present this LP in authentic packaging complete with external seams and a facsimile of the original Tusques-penned booklet, which, after 52 years, still evades the most fastidious collectors trying to unite mint copies with this oft estranged pictorial pamphlet.
Country: UK. Released: 8 Sept Style: Free Jazz, Modal. Over the last decade Belladonna Of Sadness has risen from the ashes and now shines brighter than ever. Belladonna has been used as nightclub projections by clued-up VJs and been restored by discerning feminist folk singers and improv bands while influencing illustrators, fashion designers and other creative types along the way.
Original copies of the soundtrack, however, are much less likely to rear their heads on a weekly basis, with prices literally doubling each time the original stock copies swap hands amongst the same Italian dealers at central European record fairs. Finders Keepers Records, in direct collaboration with Sato himself, agree that this record should finally be liberated amongst those who know the magic words.
This reissue project also marks the beginning of a longer intended relationship between Finders Keepers and Masahiko Sato, exploring his recorded work in E.R.C.
- Something For The People (E.P.) (Vinyl) film music, jazz and avant garde composition. Lauderdale to create a loving tribute to the music released in Released: 4 Aug A Japanese jazz-funk-fusion cult classic reissued on vinyl for the first time! Tracklist: Sexy Dance. Released: 19 May Style: Fusion, Jazz-Funk. It will be interesting to see how it evolves. I've been curious to see how blockchain can serve people and gets outside of its sort of techie, privileged bubble.
NFTs are definitely a cool opportunity. And you know, people love merch, and I sort of see it as a new age of that even. Yeah, for sure. I think it's going to get there. Right now, NFTs seem super high-end—and that's one of the things I'm trying to achieve with my drop, is make sure I have a number of items that are actually entry level.
People that might be curious of NFT, and have a little bit of Bitcoin, or want to dip their toe into it, that there'll be something accessible for them. I'm thinking more like, what's this next wave?
Looking at it like merch, or something. Somebody can own my piece of art that's authenticated. I have fans I've met that are like, "I've been to shows," so for somebody like that. And in my merch store, occasionally I would do prints from the photographer that's followed me around for a long time, Mark Owensand offer something like that. It's interesting to stretch out that space. And I see this as a similar way, just in a digital medium.
You recently scheduled your Redux shows towhich is crazy. What are you most looking forward to, about returning to shows IRL? Oh man. Human connection. I miss it. It's been a challenge to make music in this black hole. I've been very spoiled in my career, even at the very beginning.
I'd make something and then I could go test it out at the club that night or the next night. To have that instant feedback is very inspiring creatively. It helped shape a lot of my early records. Independent artists, and people in my space, we're not testing our music out out by pitching it to radio. I'm not writing radio records. Our space is in the nightclubs and at the festivals. And to just take that completely out of the equation, it's like, "Hold up. Does this even work anymore?
I love this mix. Going back to the beginning, back inwhen you put out It's You It's Medid you have any idea that you'd be where you are now? I never had a clue. If I would have tried to have planned any of this, I'm sure I would have screwed it up. There's no method to the madness.
I speak to youth groups from time to time, and they're always like, "Well, how'd you blow up? I can sit here and give you my two cents, but it's pointless because whatever I did is going to be completely different for you, if you're trying to go into this space. I mean really, for me, it was like, if I could pay my rent in San Francisco, or even come really close and I'm buying Top Ramen, honestly, the world is my oyster.
I am living. To this day, I am still so grateful for everything that transpired. And not to say that I didn't work for it, I toured endlessly for the last 20 years, and just about killed myself out there on the road.
Because I believed in the music and believed that somebody might be out there that likes it. I was always making an effort to connect with and build an audience. My endgame was just to be able to live, pay my rent, and take care of my family. Now I'm sitting in this freaking ridiculous studio in Santa Monica, California. I went surfing this morning, and I have a pretty incredible life, all off of doing what I love.
I don't have a complaint in the world. If you hear me complaining one day, just come up and whack me across the head or something. Not only has he been living and breathing those genres since his teen years, he's never lost sight of that playful raver energy, remaining approachable, goofy and optimistic despite two decades of fame.
He's a stellar selection for Beatport's Black History Month Residencywhere he's curated and led deep-diving conversations and DJ sets with artists representing the history and future of house and techno. Growing up in a house-music-loving home in the suburbs just outside of techno's birthplace of Detroit, he got his first vinyl stash and DJ deck from his dad at age By 17, he'd put out his first track with mentor Omar S.
After six years soaking up all he could in the rich Detroit scene, he relocated to Berlin to chase his techno-rave dreams. And just as he was mentored by the Detroit greats that came up before him, he continues to make space for younger DJs of color. In celebration of the Beatport Residency, we caught up with Troxler over Zoom from Bali, where he's been spending the last few months.
Dive into the fascinating, far-reaching conversation below, and make sure to tune in to the final episode of his residency Mon. PST to 6 p. PST time on Beatport's Twitch. You can also find all the past videos on their YouTube channel. How did you approach the lineup and content you were bringing into your Beatport Black History Month residency? Well, I really wanted to look at the history of electronic music, but also have somewhat of an evolution through the shows.
But more than anything, I wanted to look at the three different cities known for the invention of electronic music: Chicago, New York and Detroit. The first episode was kind of Chicago and New York. So much of the story of Detroit has only been techno, but it really was a house city before techno.
There were a lot of events and history that have not been told about that period. So, I tapped to people who were there to look at that and to open up the conversation on what is the Detroit music E.R.C. - Something For The People (E.P.) (Vinyl). And then the final episode, we're going to look at new artists carrying the torch of electronic music and being Black artists.
With the curation of this lineup, I really wanted to go deep into that exploration—also, into the content of the music. All the music in the DJ sets is by Black artists or people of color. It's to highlight the fact that it's there and to bring the flavor of that music. There are so many OGs that are massive in Detroit, but don't have the name recognition outside of the nerdier techno fans that dive deep.
What is the disconnect? That's a big question that everyone asks, and it's funny, the music that's promoted on different media outlets. It's just party culture, and it's not the fault of any group of people.
I think, now, especially within our wokeness and with the popularity of electronic music, people want to look back at its roots and see where it comes from. I think people of color in electronic music and house music have a stylistically different approach that's really fruitful for everyone.
So, it's really cool that people are now trying to engage more, and more opportunities are coming up, like this one, to promote that past as well as show the future of what electronic music can be. Also, it's about, more than anything, showing representation for youth of color and those communities to understand that this is a real thing. Everybody who's a connoisseur of electronic music that doesn't know the history of it, then even less so do the young kids in urban neighborhoods know that it's a culture that came from, actually, those exact neighborhoods.
And we were talking about it the last episode with Paul Johnson and K-Alexithat people started getting really into rap in urban areas because they saw those rappers as success stories—of getting out of ghettos and situations [like that].
Many people in electronic music from those areas have gotten out of those places, traveled the world and lived incredible lives.
And those are also success stories that we need to show the youth of today for creating something new for tomorrow. What's something that you learned, or that's been surprising to you, during these Beatport conversations?
So much. Even for myself, [who has] read every book and spent my last 21 years of my life diving so deeply into this culture, there are so many anecdotes and little stories that you can only really get out of peer-to-peer oral histories. There's an openness when friends and peers are talking to each other that you don't quite get when you're speaking with a journalist, or in a more structured conversation. Like in the Ron and Tony conversation, the two of them [related] stories, and there are so many little things I didn't know.
Like, there was a church underneath [the former Newark, New Jersey club] Zanzibarand other little factoids. I just sat there in awe and imagination hearing these guys talk. We're really at a special point in E.R.C. - Something For The People (E.P.) (Vinyl) where so many of the creators and originators of this music are still alive to give you oral histories. It's almost like hearing from Robert Johnson about the invention of rock and roll during the height of The Beatles.
The popularity of electronic music is like never before. EDM culture made a big bump in sales and popularity jumping over to America [in the s] and took over the mantle of what electronic music is. That was a real starting point for American culture to get back into electronic music. But now, throughout most cities and countries, EDM is somewhat fading, and now it's more tech-house and techno, are becoming the popular forms of this music.
It's interesting to me with that kind of—this didn't work in economics—trickle-down effect. That's funny. It's beautiful. The deeper you go into music, the more you find things that enrich both you and culture as a whole. I wish more often than Black History Month that we could acknowledge these contributions and give it that airplay.
What do you think the dance music community and industry need to do to better honor the roots of dance music, and also bring the current space back towards those radical, inclusive roots? It's a really complicated question. Conversations like this are already a step forward, acknowledging the roots. But also, it's funny, with Black Lives Matter and other things for it to be happening during a pandemic, it's opened up the conversation for people finally to start looking at it as a thing that has been not given the proper love or acknowledgement that it should.
It's the acknowledgement of our existence, I think, that plays E.R.C. - Something For The People (E.P.) (Vinyl) role in moving forward.
As far as institutions are concerned—say, particularly with the GRAMMYs—maybe an opening of a category that focuses on more than the pop side of electronic music, looking at the underground, perhaps a house music category. I think that would open up more opportunities to acknowledge Black artists. They don't really fit. So, it's about the acknowledgement and visibility to said arts, that will really bring the things forward. I think it's become clear that in most societies, especially the United States, more space needs to be made for people of color and for other communities that have been systematically kept out.
And dance music, we need to be mindful of the people we promote to the top. Yeah, definitely. I'm really lucky to have been in that position of being at the top, and then always using my position to also open the doors for many other people.
I'm very much into that mentorship type of role. However, when The Martinez Brothers and I started our Tuskegee label and started to look around, we were like, "How is there only us? So that's a hard question to really E.R.C. - Something For The People (E.P.) (Vinyl). There are so many new, really exciting artists. We're just really good at opening doors for people and breaking down that barrier. And it's in this time now that the door is really starting to open, and people like you are taking the time to shed light on the experience, and I think it's all a matter of time, because the artistry is the thing that should shine the brightest, and the art is not lacking.
So, it's about the acknowledgment and visibility to said arts, that will really bring things forward. My situation growing up in Detroit is kind of funny because I released my first record with Omar S when I was But also, my mentorship wasn't only people of color. Most popular View all. Black Flag's debut full length. Rollins is fresh and primal here. Required listening.
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Makio Inoue as person ep Masayasu Takato as Geki Sawashima ep 4. Matsuko Inaba as Oura. Mikio Terashima as person ep Minori Matsushima as Mita ep 30 person ep Namani Ikeda as Guuji. Osamu Kobayashi as Tanabe ep Reiko Mutoh as Midori. Ryoko Kinomiya as Ko-iina ep 4. Seizo Katou as Jinbee President ep 4. Taichirou Hirokawa as Kyonosuke Hibiki ep 1. Takuzou Kamiyama as person ep Life magazine reported: The crew accompanying Guns 'n' Rose is made up of about 80 people, including four bodyguards hired, in part, to keep the drug pushers and sex-crazed fans out of temptation's path.
They've formed a family. For some of these people it is the only family they have ever really known. Los Angeles Daily News: Guns 'n' Roses took more than 90 minutes to set up, which was more than enough time for restless throng of concert goers to make mischief.
But not everyone was amused by the debauchery or Guns 'n' Roses' tardiness. Some fans had to leave the stadium early. Those who could stay were treated the usual uneven Guns 'n' Roses set. The momentum was severely diminished by lengthy and pointless solos by guitarist Slash and Gilby Clarke, as well as drummer Matt Sorum. The band never gained its footing and the crowd slowly thinned. Some of the remaining fans were spied sleeping or just sitting, with bored expressions on their faces.
Unlike Guns 'n' Roses, Metallica seems fully aware that this tour presents a marvelous opportunity. In a performance that could only be compared to Attila The Hun's tour of Mongolia, Metallica storm-trooped its way to the hearts of the crowd.
Their set was simply superb - more than 90 minutes of non-stop musical mayhem. After Axl is diagnosed as having damaged his vocal chords, the next three shows have to be rescheduled. Bill Gould Bassist, Faith No More : Every band in the world might think they want to open for Guns 'n' Roses but, lemme tell you, it's been a real ugly personal experience having to deal with all the shit that surrounds this fucking circus.
Mike Patton Singer, Faith No More : They were playing one night, and Duff walks up to Axl and pats him on the head, like a loving comrade type thing, and Axl Rose immediately brings the show to a halt. This is in front of 80, people and Axl screams: "Don't you ever touch my head again, motherfucker".
Duff just walked away, wounded. We found out later that it was because he's going bald and he's worried that if you touch his hair it'll fall out. Every little follicle counts.
Axl asks the crowd how many people there are from Las Cruces. After some cheers and raised hands, he then asks how many people would actually admit to being from Las Cruces. The question is answered with many bottles thrown at the stage, raised middle fingers, and screams of: "Fuck you, Axl!
Which they do. The band comes out, sings Paradise City and exits, returning one last time for a bow, arm-in-arm, as in a Broadway show. Axl tosses roses into the crowd, the other guys throw guitar picks and drumsticks. After, there is the usual backstage party with the usual hors d'oeuvres, open bar, pinball machines, pool table, hot tub and strippers. As for individual band shirts, the GN'R ones were outselling Metallica's. October 6, Axl Rose: Let me tell you a couple of things about Metallica.
I thought I was friends with these people. I don't know how long they were on the road, but there was nobody in their crew that had ever got a bonus or paid anything extra for workin' their fucking ass off. James Hetfield: It [the tour] was different. It was a good idea. We really had no idea what was going to come with it.
We were out to show people that there was something a little more progressive and hard-core than Guns 'n' Roses. And to go about it our way. But it was hard going on, dealing with Axl and his attitude.
It's not something we'd want to do again. Oh, and listen out for Axl when he tells the crowd that he hasn't been asleep for 2 days, at the end of "Patience"!
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