I put this electro bit together in 2004 during a period of time when I was on the road quite a bit.
The EP was going to be called “Transit” but I scrapped the release. This track survived but was never put out for sale. It’s under a pseudonym “Console Jockey” I used when working on anything techno / electro / house related. I don’t remember the software package I used, but I remember it being an open source sequencer and DAW, and it was fun to use.
Digging through the archives and finding old mixes to upload. This was a fun one, and incorporates a bit more improv work on the samples/scratches. The final “official” mix I did in the studio will soon be uploaded, called “in:motion” from 2002. But for now, enjoy “High Standards”:
also available on YouTube
And here is the tracklist:
1. SPECIAL FORCES – “FREESTYLE” – PHOTEK PROD
2. SPEARMAN – “CHINATOWN” – HOME STYLE COOKING
3. PASCAL – “P FUNK ERA” – FRONTLINE
4. SPEARMAN – “LN 11′ – HOME STYLE COOKING
5. CITIZEN – “THE MOTION (DJ KALM MIX)” – FEDERATION
6. SUPPLY & DEMAND – “PURE & SIMPLE” – CHRONIC
7. LONDON ELEKTRICITY – “ROUND THE CORNER (ORIGIN UNKNOWN VIP MIX)” – HOSPITAL
8. KLUTE – “ANGRY WOMAN” – CERTIFICATE 18
9. MATRIX – “BIG BROTHER” – NEW IDENTITY RECORDS
10. KLUTE – “DOUBLE DEALER” – CERTIFICATE 18
11. THE QUARTET – “NEVADA (PESHAY REMIX)” – PIVOTAL
12. SCI-CLONE – “HOLD ON” – METALHEADZ
13. BRIAN ENO – “1/1″ – POLYDOR (AMBIENT 1: MUSIC FOR AIRPORTS)
Just when I think I’m out, the past pulls me back into the mud-encrusted phat pants and rave campsites of yore. A steady reminder that artists enjoying financial success came from humble beginnings.
Picture a wide-eyed and fresh-faced French duo playing to thousands of crusty Midwestern ravers in a big leaky tent. Then picture this happening in a campsite. In Wisconsin. This was best captured in the recent Spin article coinciding with Daft Punk’s new album release.
Love it or hate it, the Daft Punk boys made 1990s ravers lose their minds without trying very hard. And they did it without an overabundance of technology, just really savvy sampling and proven production techniques. These two young producers of dance music fine tuned their sound in front of thousands of ravers from cornfields to campsites to warehouses all over the world. They captured the DIY ethos that ran like a heartbeat through the rave scene back in the 1990s.
Point being, they paid their dues. They weren’t manufactured in a boardroom or lifted up into stardom on Kanye’s Prada coattails first. They didn’t buy clicks on Soundcloud to show up in Beatport rankings. Quite the contrary, they were stars to thousands before anyone even knew who they were. And that’s the ideal situation: prove yourself to have actual talent and the rest will follow naturally. You can’t fake the funk.
Have been in the Bay Area since late August 2012 and am looking to get out and play good music again. Have a long, storied past in the Midwest starting in 1990 at all ages clubs. From there, I moved on to massive sound systems in cornfields with muddy ravers to industrial warehouses in Chicago and Indianapolis to impromptu college parties to charity and art events.
My main focus is melodic, vocal, jazzy, danceable drum n bass (aka “liquid” drum n bass) but tend to mix in a bit of drumstep from time to time. When not doing that, have been into mellow house, downtempo, acid jazz, tribal west coast breaks and dubby ambient sounds. As Bruce Lee says: don’t think, FEEL.