Once upon a time, DJ mixtapes were for the faithful. Today, it's the opposite – everyone can access them, and more and more, they do. By the time you finish this sentence, 20 more live-casts and podcasts, club and stadium sets, amateur and pro, old and new, will go up on SoundCloud, and 20 more on Mixcloud. It's overwhelming, but it's also a treasure trove, as this chronological selection of 20 of the best we heard in the first half of 2013 proves.
The 25 DJs that Rule the Earth
Tensnake,
https://soundcloud.com/everybodywantstobethedj/tensnake-essential-mix-2013-02
Essential Mix (February 16th)
Hamburg DJ Tensnake's approach on his 2010 club banger "Coma Cat" – friendly, assured, patient – typifies this Radio 1 showpiece. It begins slowly, with Alice Coltrane, but rides a steady arc to far giddier grooves – especially the second hour, where Todd Terje's remix of Hot Chip's "How Do You Do" and a yet-untitled new one from Tensake mesh easily with house classics like T-Coy's "Carino" and Röyksopp's remix of Felix da Housecat's "What Does It Feel Like."
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Truss / MPIA3, RA.351 (February 18th)
Nail-hard, back-to-basics techno – the kind of machine-oriented music that made Surgeon and Adam X underground DJ kings in the mid-'90s – has been on an upswing recently. London producer Tom Russell is a prime example, as both Truss and MPIA3. His edition of dance site Resident Advisor's podcast works as a primer for this new wave of brutalist techno, grounding it in Nineties touchstones by Der Dritte Raum and Pilldriver, and letting me...
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...ster favorites such as Blawan and AC Slater. It's an audacious gambit that he puts over with real vigor – a conscious statement his big-tent peers now have to catch up with.
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DJ Koze, Fact Mix 387 (June 18th)
Daft Punk get all the headlines, but the wooziest widescreen dance album of 2013 is DJ Koze's endlessly lush Amygdala. He's also a joker, and this set for the weekly series for London's Fact Magazine features a robot voiceover back-announcing the tracks, a nod to both radio and reviewer-promo album advances. It's a lovely head-trip consisting of sixteen favorites from the year's first half – including three of Koze's own. If you're that good, why bother with modesty?
Top 20 Mixes According to Rolling Stone
p.s. here's mine.. www.mixcloud.com/scalco/ (WINK)
Have you heard the phrase “Momma said knock you out”? If so, you've probably heard your parent sing this song. Signing with Def Jams in the 1980’s, LL Cool J showed the world a unique style of Hip-hop and Rap. A kid just 18 years old when his first song came out, LL showed the world he would he would be different. LL Cool J created an influential long-term career with his starting a new hard-hitting romantic style of rapping, influences with popular clothing lines, and paved the way leading rappers to transform into actors and continue to have a successful career.
Ringing in the New Year, we’ve chosen an individual who has created his own music and created interesting remixes of other songs over the course of (now) 16 years. We enjoy the twists he plays on his music and admire his efforts to take his music to live performance stage. Local to Brick Township, NJ, Brian Stewart (DJversion666) started out, born and raised, in Evansville Indiana, playing in a multitude of bands, playing bass and/or singing various genres of music. Upon moving to Nashville, he has done studio work, laying down bass tracks for commercials and advertisements. Continuing down the path of music Stewart attended Berklee College of Music in Boston, Massachusetts. He combines various genres and ties them all together with an industrial sound.
Post 2. Bodonyi, Tiina. “This was something to make me see the world in a new way. Born and raised in Finland, Europe, this album that I got from a friend woke me up. I think it should be mandatory for all the people in Europe to listen to this album. This album is revolutionary, just like all the best art has always been: revealing the truth.” Facebook. N.p. 31 Mar 2010. Web. 5 Nov 2013
It could be argued that ‘In-A-Gadda-Da-Vida’ served exemplary as testament to the changing attitudes towards rock music and psychedelic acid rock of the time. The prevalence of the genre was tangible, even the AFVN (American Forces Vietnam Network) added a special channel in 1968 for those soldiers serving overseas who had reported an interest in the musical style (Kramer, 2006). Perhaps this song was indeed the natural progression of music in a time of so much uncertainty for an entire generation fraught with equal parts revolutionary ideals and Cold War paranoia. The track’s tone, ambiance were defined by an eerily dark otherworldliness unheard of up until that point in rock music and arguably not replicated again until Black Sabbath’s NIB
Music week ( 2005) ‘HMV to encourage environmental awareness’ [online] musicweek 27TH of January. Available from http://www.musicweek.com/news/read/hmv-to-encourage-environmental-awareness/027552 [accessed on the 30-3-1014]
Djs were the central focuses in the early phases of Hip jump filled in as the establishment and binding together components of hip bounce culture. In rap music Djs were essential for recognizing rapping from verse recitation. Djs utilized different procedures to consolidate vitality and feel of a live execution.
Echolls, Alice. Hot Stuff: Disco and the Remaking of American Culture. New York, NY: W.W. Norton & Company, Inc., 2010.
“Nightshift (album).” Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 23 Sep. 2013. Web. 9 Mar. 2014.
For more than 40 years, the KTU name has been the “beat of New York,” offering the freshest dance music and staying on top of the curve with new artists. First hitting the airwaves in 1975 at the 92.3 FM signal, it rose to the number one station in the market in the span of 10 years. After moving to the 103.5 signal, where it stays to this day, it immediately became number one again, something no other station has ever done outright. Read on to find out more about KTU and its long history and importance within New York’s dance music and radio scenes.
A number of other genres, throughout the decade, maintained a significant following. One genre that was slow to start was Hip-Hop, while it emerged in the 1970’s it didn’t become significant until the late 1980’s. Although Classical music began to lose impetus, it gave way to a new generation of composers through invention and theoretical development. The decade was also distinguished for its assistance to electronic music, which rose in reco...
AUM 154.3 Music Analysis Essay - Nathan Morrissy ( Dubstep/Trap ) Include links to recorded materials (aka links to song).
In a day and age where getting noticed or receiving recognition within the music industry is a struggle, upon releasing material musicians enter a battlefield. For established musicians, those with a loyal fan base, recognition isn’t necessarily a problem but for musicians attempting to “make it”, it is. There are a number of ways in which a budding musician can increase their chances of gaining recognition and one of the most common attempts comes in the form of the remix. Musicians, primarily working in dance, electronic or hip-hop genres remix tracks of already established musicians in a bid to target and get recognition from the audience of the already established musician. This is not to say that this is the only reason for the remix; I will expand on different reasons later. The term remix, for some, conjures up certain connotations and too much of the time these connotations are bad ones, often centring on plagiarism and theft or perhaps more pointlessly based on arguments of unoriginality. These arguments aside, releasing remixes is clearly an acceptable way for any up-and-coming musician to gain notoriety, particularly in the blogosphere.
Driving up Route 9 towards Poughkeepsie in a snow storm was not something I wanted to do. The time itself—an hour’s drive—was elongated by the pretty, but dangerous, falling snow. As my Beetle and I plowed up through Fishkill and made our way to the town of Poughkeepsie, I started getting nervous. I would be interviewing a real live DJ! Since I was a child I had always loved music and the radio. I remember leaping up onto my kitchen counter and perching there, anxiously listening to who would be crowned Number One that week on the Top 40. Or I would be in my cool, newly-furnished bedroom listening to the most-requested five-song countdown on Monday and Wednesday evenings at 8pm.
A great deal has been said about the move from physical media to a ubiquitous, digital culture. Some decry the downfall of the vinyl record, falling compact disc sales, the cheapening and degrading of an art form. I’ll try to stay away from unverifiable judgements about the direction modern culture is moving in. More interesting is the way musical creation is changing as a result of new technologies, whether we like it or not. What comes to mind is hyperreality - what Jean Baudrillard called “the generation by models of a real without origin or reality” (166). Digital representations, originally intended to recreate the original sound waves of the music, are losing their point of origin and becoming musical works on their own. Technological developments in the 21st century have given us profoundly new ways of interacting with and perceiving representations. Hyperreality is becoming more pervasive in society, present in almost every part of everyday life. The distinction between original and copy is fading fast, as culture becomes a densely interlinked hypertext of information. Here, I will explore how digital music has changed the way we listen, and more specifically, how the mash-up genre embodies the advancing hyperreality.