The Druffalo Hit Squad with yet another hurricane session for the party boys (and girls) who only come out at night. We own your lonely hearts, and we show you images of heaven. Yes, it is love, and we don’t move away from it, darlings. We got the gloves on, we dream electric, and we don’t stand back. Reason? No. Boredom? No. Orchestras? Yes. To a Debussy beat, the city waits forever. It shines like destruction, it lives inside us. We can make you see it. And we think hard about the weather, too. We’re pretty sure it must have rained. We dress for action, and howl at many moons. Who do you love? Is it us? Is this a test?
Kim Carnes – Hurricane (EMI America) Foxy – Party Boys (T.K. Records) Peter Brown – They Only Come Out At Night (CBS) Local Boy – Thriller/Owner Of A Lonely Heart (Profile) Peter Godwin – Images Of Heaven (Polydor) Gang Of 4 – Is It Love (Warner Bros. Records Inc.) Culture Club – Move Away (Virgin) Visage – Love Glove (Polydor) Giorgio Moroder With Philip Oakey – Together In Electric Dreams (Virgin) Stevie Nicks – Stand Back (WEA) John Farnham – Age Of Reason (RCA) Leonard Cohen – First We Take Manhattan (CBS) Andrew Poppy – 32 Frames For Orchestra (ZTT) Pet Shop Boys – Left To My Own Devices (Parlophone) Yello – Call It Love (Vertigo) Eurythmics –Love Is A Stranger (RCA) Data – Living Inside Me (Virgin) Cut Glass – Alive With Love (Ear Hole) New Order – The Perfect Kiss (Factory) Blancmange – The Day Before You Came (London) Steely Dan – Glamour Profession (MCA) Chas Jankel – Glad To Know You (A&M) Greg Phillinganes – Behind The Mask (Planet) Elbow Bones & The Racketeers – You Get Me High (EMI America)
This is from an old French movie soundtrack, „Le Casse“. I picked this for the string arrangement, because it puts a lot of emphasis on build-up, thus linking to the way Disco producers arranged strings for climactic dancefloor moments.
To be honest, I muss confess I don’t know Morricone’s works so well. I don’t think I have been a really big fan, partially because I don’t know it so well. My first impression of this track, which I didn’t know, was that it’s a formal composition. In my head I make a distinction between pop music, which has almost very definite rules, and people following it like Abba. It’s not formulaic, but there are very basic chord progressions that are based on Blues and Jazz that you can do in pop music and that have their own logic and their own progression. Many pop songs are actually the same song. “Good Times” by Chic is one kind of groove and twenty other songs sound exactly like it. It could be “Rapture” by Blondie or something. That’s pop music writing. And then you have soundtrack music writing and it has a different logic. It doesn’t have to follow a certain progression like in pop music, which has a reason and an impulse that keeps on pushing the song forward. When I heard this I thought it is a very good example of soundtrack music writing where you don’t really have to explain the logic of the chord progression, it just sets a mood. It makes an ambience. I think this is probably from 1967 to 71.
Good guess, it’s from 1971.
Because from 1972 on you start getting the big multi-track stuff, like Philly Disco and the more sophisticated pop, and this still sounds relatively simple. My first impression was it’s like a slightly cheaper copy of Burt Bacharach’s “Raindrops Keep Fallin’ On My Head”, but with more drama. It has some very formal devices, like it’s basically a minor key. But at some points he plays the same theme but he opens it up with a major key.
Lately all this beautifully orchestrated obscure library music back is popping up again and people scan back catalogues for songs groovy enough to suit a Disco context.
Yeah, that’s interesting, and I think there is a good reason for that. There is such a thing as real music, in the sense that there were people who did music for films, like Ennio Morricone, or Giorgio Moroder, with a more naïve use of the rules, or the very sophisticated Henry Mancini, or Alec Constandinos, or Vangelis, or Jean-Michel Jarre. All these people were obviously classically trained and they followed the rules. It doesn’t really matter if it’s a Bossa Nova, 60’s GoGo or a Disco beat, the rules of the music don’t change. I think that is why everybody is going back now to find real music. When people like Masters At Work appeared in the 90’s, people who didn’t know anything about the basic rules of music started making music. That’s why it sounds so awful, haha. A lot of the DJ produced music doesn’t have its own intrinsic logic and sense. And chords, progression and melodies have that intrinsic logic. That’s what’s been missing. So everyone of this generation who wants to find out what is really musical has to go back to the 60’s and 70’s, and there you find it everywhere actually.
> Carter Burwell – Blood Simple
This is from the soundtrack of the Coen Brothers debut film “Blood Simple”.
It’s from the 80’s I suppose.
Yes, it’s from 1987. It’s a mood piece with a synthetic feel to it.
I found the orchestration is simpler, but it’s similar to the previous song. Again, it’s not a pop song with intrinsic deep logic. Like Bach’s “Air On The G-String”, that is also some kind of pop music because it has a very definite logic. This one has a formal piano theme that sounds a bit like Erik Satie. Simple chord, simple melody, a little bit like Mozart’s “Eine kleine Nachtmusik”. It is not original, it is a formal piece, it follows a form that other people have created.
You could maybe alter its logic by just putting a beat under it, and by not adding much you would have a really moody dance track.
Yeah, actually this is the thing. To be honest, and many people are going to hate me for saying this, I’m not a big fan of Portishead. It’s very easy to make a mood piece. Anybody can do it. All you have to do is take a minor key and play some stuff over it, doesn’t really matter what. I think Portishead never even use a major key (laughs).
They don’t have to, really.
Yes. I think anybody writing good music should move between major and minor keys, that’s part of the magic. Since we now accept that some people make mood music, you can have a whole album of just melancholy. Personally, that doesn’t move me at all and I don’t find it very interesting. I think a lot of people in this generation think that this is a valid way to do music, for me it’s not enough. Salsoul records only have two or three keys but they do it so well, there are so many nuances.
I think the problem is that many people think they can only sound deep by using minor keys.
Yes, you’re right. That’s very true. If it’s not melancholy and it’s not moody then it’s not deep. Which is not true. That’s very profound what you just said. Read the rest of this entry »
Despite the demolition of most of its former playgrounds, the legacy of the classic era of European punkfunkateers remains indestructible. The Druffalo Hit Squad was actually raised on a diet of edgy dancing, nervous drinking, and romantic industrialism. As we move to the vicious dub, panic horn sections, flat snares, slap basslines and vigorous chants like we used to, we press record. Now you press play…
23 Skidoo – Coup (Illuminated) The Flying Lizards – A-Train (Virgin) The Wolfgang Press – Assassination K. (4AD) Kazino – Binary (Carrere) A Certain Ratio – Mickey Way (Factory) Shriekback – My Spine (Is The Bassline) (Y Records) Thompson Twins – In The Name Of Love (T Records) ABC – Tears Are Not Enough (Neutron) Gabi Delgado – Amor (Virgin) Simple Minds – Theme For Great Cities (Virgin) The Raincoats – Animal Rhapsody (Version) (Rough Trade) 400 Blows – Return Of The Dog (Illuminated Records) Futura 2000 Feat. The Clash – The Escapades Of Futura 2000 (Celluloid) Ian Dury & The Blockheads – Reasons To Be Cheerful Pt. 3 (Stiff Records) Modern Romance – Can You Move (Midnight Mix) (Atlantic) Haircut 100 – Ski Club Of Great Britain (Arista) Medium Medium – So Hungry, So Angry (Intercord) Fehlfarben – Dollars + Deutschmarks (Special Dance Version) (Welt-Rekord) The Members – Chairmen Of The Board (Dance Mix) (Arista) Quando Quango – Love Tempo (Factory) Spandau Ballet – Chant No. 1 (Chrysalis) Clock DVA – Breakdown (Remix) (Polydor) Gang Of Four – At Home He’s A Tourist (EMI) Czukay/Wobble/Liebezeit – How Much Are They? (Welt-Rekord) The Slits – I Heard It Through The Grapevine (Island Records) Marianne Faithfull – Why D’ya Do It (Island Records) Colourbox – Look Like We’re Shy One Horse (Virgin) The Specials – Friday Night Saturday Morning (2 Tone)
For this edition of the Druffmix experience, the D.H.S. hop the bus for the weekender. Gazelles are on, talc is prepared, purple hearts are still broken and faith is kept.
We dedicate this mix to Levi Stubbs. Reach out, we’ll be there…
Four Tops – I Just Can’t Get You Out Of My Mind Johnny Bristol – Love No Longer Has A Hold On Me Lenny Williams – Messing With My Mind Alphonse Mouzon – I’m Glad That You’re Here Brandi Wells – Watch Out Cool Runners – Play The Game David Williams – Holdin’ Back Alfie Davison – Who Is Gonna Love Me Booker T – Don’t Stop Your Love Greg Perry – It Takes Heart Jimmy Ruffin – Hold On To Your Love Moment Of Truth – So Much For Love James Mason – Free Gladys Knight & The Pips – It’s A Better Than Good Time The Dells – It’s All Up To You Labi Siffre – It Must Be Love Diana Ross – Remember Me
There is a direct connection between the devaluation of music and artistic irresponsibility.
Status won’t necessarily last longer by being fully exploited.
Every trend you follow is trend less you could set.
For every older record you may disrespect, there is a blueprint you may imitate.
Every preset you use is an idea less that you could develop on your own.
If a virus wipes out every preset in existence, you might have to stop producing.
If you change your musical style, you could consider using the one you just left behind on the one you get into.
For every edit you make that just streamlines the original material, there is a DJ is capable of using just the original material you just deleted in the process.
Don’t release something that you won’t care about in the near future. You may block somebody who does.
You would be better off investing all you can afford into the mastering, distribution and design of the release you totally believe in, than investing the least possible into mastering, distribution and design of all the other releases you don’t really believe in.
Mixing is overrated; selection is not.
The performance aspects of digital DJing are alarmingly disproportionate to the convenience aspects of digital DJing.
Charts and playlists don’t oblige, they just give examples.
If you don’t earn enough money by DJing, you will not necessarily earn more if you start to produce.
If you don’t earn enough money by producing, you will not necessarily earn more if you start to DJ.
If you don’t earn enough money by producing and DJing, you will not necessarily earn more if you start a label.
There are more phrases to illustrate a positive feedback than “full support,” “top tune,” and “will play.”
Your demo as a Sendspace link in the MySpace inbox of the label of your choice will not give the impression that there is some thought behind your choice.
This mix is well informed by my visits to Hard Wax at that time. I was living a 10 minute bike ride away and was going there several times a week to meet people and dig for new sounds. At that time both techno and uk bass music was buzzing with ideas, apart from the house stuff I was looking out for anyway. It was generally a very inspiring period.
UB313 – Q (The Black Dog Bitez Down On Beatz And Bleepz Mixx) TRG – Broken Heart (Martyn’s DCM Remix) Link – The Augur Martyn – All I Have Is Memories Shed – Warped Mind Luke Hess – Renewal Part 2 Mikkel Metal – Lumever Substance – Relish (Shed Remix) B12 – 32 Lineup Brothers’ Vibe – Cuero Para Mi Gente (Altered Vibes Mix) Stefan Goldmann – Radiant Grace Vakula – Loop For My Friends (Lerosa’s Unsavoury Mix) Herb LF – Sunliner (Demo) Prosumer & Murat Tepeli – Serenity (Soundstream Mix)
Ohaueha, über ein plockeriges Rhythmusfundament schichtet Solomun bei „Don’t Cry“ Pianoläufe und dramatischen Streichereinsatz, als wolle er Faze Action für das Electro House-Jetzt updaten. Das hat seine zugreifenden Momente, hätte aber ruhig gerne noch dramatischer sein dürfen, wenn man schon mal dabei ist. „The Way Back“ bietet plastillinen House mit Âme im Hinterkopf und einer Eric Kupper-Gedächtnis-Solo-Orgel, sehr sauber, aber auch etwas zu sauber und irgendwie untief. „Somebody’s Story“ ist ein Zwitter der vorherigen Stücke mit Mut zur Opulenz, der unbeirrt die Restnacht aufrechterhält, während draußen schon die Vögel zwitschern und die Sonne wenig später knallen wird, als wäre sie zwischenzeitlich auf wenige Kilometer herangerückt.
Rock und Disco, die wackelige Allianz. Auf so viele glückliche Aufeinandertreffen zwischen No New York und ELO kommen mindestens ebenso viele unglückliche, manifestiert in etlichen Auftragsspezialmixen kredibler Discotypen seit Dekaden, die an beiderlei Zielpublikum vorbei, meistens nur in beinharten Hi-NRG-Clubs bzw. Traktordissen und ihren modernen Pendants ihren Zweck erfüllten. Man stelle sich das vor wie Al Pacino auf der Tanzfläche in „Cruising“: fremder Turf, ungewohnte Rituale, falsche Bewegungen. Insofern gehen Holy Ghost den richtigen Weg. Ein bisschen Gniedelgitarrenpart geht schon und das unterschwellige 70erRockglorienzeitgefühl vermischt sich ganz proper mit den weitflächigen Insignien von Jetztzeitdisco, vor allem wenn man einfach so unbedarft und referenzstressbefreit ins Rund feuert wie hier geschehen. Run Roc hingegen der flirrend-stoische Part, sein Mix jagt die Chants und den Bass durch einen Echostrudel und geht beherzt ein paar Schritte in Richtung Mittneunziger-Trance. Also ingesamt eine prima Platte für Beardo-Apologeten, die schon mal zu ganz anderen Sachen getanzt haben.
Zum vierten Mal schiebt sich Four Roses nach vorn, zum zweiten Mal mit Danilo Plessow, der hier auf dem Titeltrack eine Sehnsucht nach flächendeckender Strobohypnose auslebt, mit erneut gewichtigen Ergebnissen. „Sun Sequence“ schwingt wie ein außer Kontrolle geratenes, überdimensioniertes Pendel über den Köpfen, stoisch und schwer. Die Sonne, um die es hier geht, hat nicht mehr viel Amtszeit vor sich und die Signale treffen mit einiger Verspätung, aber umso massiverer Wirkung ein. „Feel The Love“ ist ähnlich dunkel, kommt aber eher aus einem tiefen Gewölbe nach oben, wo es sich dann unvermutet als schwarzseidener Spotlight-Hustler entpuppt. Die Liebe, um die es hier geht, hat auch keine Zeit zu verlieren. Ein Blick muss reichen. Und reicht.
Herb LF kehrt zurück und verlängert den Höhenflug von Farside um eine weitere Katalognummer. Für all diejenigen, denen schon länger schwant, dass Deep House sich zur Zeit für den Konsensanschluss zu Techno zu oft in aseptischen Klängen verkalkuliert, gibt es hier einen äußerst wirkungsvollen Willkommensgruß. „Sunliner“ kreuzt im Blindflug Reese-Bass, Glockenspielohrwurm und warmes Flächenrauschen, das dürfte im richtigen Moment von der richtigen Hand am richtigen Ort in die Kategorie „schockierend“ fallen. Auch „Shake“ und „Down To The Sound“ gehen beherzt und weise mit den Zutaten um und haben noch dazu das Dub-As im Ärmel, ohne sich in Basic Channel-Konventionen zu veröden. Expertentum in frisch.
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