Archive for the ‘Daft Punk’ Category

These Daft Punk Remixes are Neither Hot nor New

Monday, March 11th, 2013

I think I’m honestly starting to make some headway on my other, oft-delayed website. I should have some updates soon. Moving everything off of Nearly Free Speech (scam server site) took a lot of time and set everything back. Now that things are back on track I should be able to get that going sooner rather than later. My goal is to launch by April. Let’s see how that works out. Here’s hoping.

Primal Scream
When Thy Kingdom Comes
Okay, I own five Primal Scream singles and no Primal Scream albums. It’s time for me to jump in! Recommend an album I should start with: GO!

Oh, and this is a B-side from the “Accelerator” 12″ single, in case you were wondering.

Renegade Soundwave
Cocaine Sex (Sub-Aqua Overdrive Dub)
Cocaine Sex (Turbo Lust Mix)
People (mainly British) seem to dig it when I post Renegade Soundwave tracks. These are for them, not for me. While I’ve just recently discovered RS, and loved most of what I’ve heard, I fucking hate this song. It’s, quite frankly, kind of gross, and not good enough to earn it in my opinion. But hey, if you love it, go at it and enjoy!

Daft Punk
Prime Time Of Your Life (Para One Remix)
The Brainwasher (Erol Alkan’s Horrohouse Dub)
It seems that everyone is going crazy for new Daft Punk. The hype is reaching such ludicrous levels that the group even put out a 15 second ad that aired during SNL a couple weeks ago. That’s insane! How the hell did Daft Punk’s next album suddenly become the most anticipated record in all of music? Was it just because of a process of elimination? Did the music press have to find a new “OMG where is it?” release after My Bloody Valentine and Godspeed! You Black Emperor finally released new records (and after everything supposedly associated with Dr. Dre’s long-delayed Detox has sucked)?

I just don’t get it. These are the same people who were underwhelmed by the group’s soundtrack to Tron Legacy; the same circle of critics and hipster assholes who dismissed Human After All completely because it had the gall to be an electronic dance album and not another dance/pop hybrid like Homework. Where did this idolization come from?

Maybe its an ‘absence makes the critic get softer’ thing, it’s been years since Human After All, and even the most harsh critic of Tron Legacy could write off that supposed misstep as it being a soundtrack to a mainstream Disney film, and therefore somewhat forgivable for not meeting their lofty standards. Perhaps all these critics, in Daft Punk’s extended hiatus, have made the group out to be something they aren’t, a savior of the bigger-than-ever/shallower-than-ever electronic dance music scene, a group that might bring a resurgence in “Intelligent Dance Music” or “electronica” style dance music of the mid-90s. Now I almost want Daft Punk’s album to be a disappointment (for those looking for another crossover record anyways) just so I can see all those jerks get all bummed out.

But  whatever. I’m just stoked for more Daft Punk. Wet your appetite with these remixes from a 12″ single.

More Random Electronic Music

Wednesday, May 16th, 2012

Lost Turntable news!

The long-awaited, incredibly-overdue, far-too-complex, incredibly-well-written Lost Turntable Guide To Recording Vinyl will be published here within one week’s time! Now, that doesn’t mean this week, that means a week from today (Wednesday). I mean it. It’s actually almost done. I’m just polishing up the rough edges and adding in screencaps/photos. It’s turned into a damn epic, well over 4,000 words, and I’m going to have to split it up into multiple parts (which will all be published simultaneously).

I really hope it doesn’t suck.

Anyways, time I got something off my chest.

I usually love The A.V. Club. I think it’s one of the best entertainment sites on the web, with a good balance of light “Top 10” type articles and more in-depth quirky pieces that really examine pop culture in a unique way.

One of my favorite recurring features on the site is “Gateways To Geekery.” In it,  a writer looks at a fairly geeky piece of pop culture (Dr. Who, Pub Rock, Harvey Pekar) and breaks it down in a way that outsiders to the geekiness can understand, while giving examples of perfect points of entry for newcomers. It’s almost always just as educational as it is fun.

The latest Gateway To Geekery is on a topic that I consider myself a high-level geek on: 90’s ‘electronica.’ Like most people my age, I first got into dance and electronic music in the late 90s, cutting my teeth on stuff like Fatboy Slim and The Prodigy before discovering deeper acts like Aphex Twin, Boards of Canada and countless British drum and bass acts. A lot of the music from that time served as a major influence on my life, so I hold a great deal of nostalgia and fondness for it to this day. As such, I was very interested to read what the A.V. Club would recommend.

Oh well.

The article starts out decent enough, arguing that The Chemical Brothers are a good entry level band for those looking to explore the genre. But when the writer (more on that asshole in a bit) starts to talk about The Prodigy and Moby, things get a bit dicey.

First there’s this choice bit about Prodigy mastermind Liam Howlett:

“Liam Howlett earned his chart success with impeccably constructed tracks that showed off his ear for melody and drew from teen years spent gorging on hip-hop and jungle. “

As a commenter at The A.V. Club points out, Liam Howlett was born in 1971. Jungle/drum and bass didn’t exist as a genre until around 1990-91. Teenage Liam Howlett was not listening to jungle, as it did not yet exist.

From there, the author goes on to cover Moby (while finding ways to backhandedly compliment him along the way) and Underworld (oddly leaving out Darren Emmerson’s name entirely) before going on to Orbital. Most of this stuff is fine, if incredibly vague. It’s at the very end where the article falls apart.

First the writer concludes the main section of the piece by listing off other artists to make note of:

Leftfield’s dubby progressive house, Fatboy Slim’s lampshade-on-head chart pop, Lo-Fidelity All-Stars’ pub-Dadaism, and the jazz-noir of future Steven Soderbergh and Darren Aronofsky collaborator David Holmes are all worth exploring beyond the odd single or two.

All right on (although I don’t think this person knows what Dada is). But let’s take a look at what he says to avoid:

Almost anything called “big beat.”

You mean stuff like Fatboy Slim? The king of big beat? And while The Chemical Brothers and The Prodigy were never strictly big beat artists, a lot of their early (great) stuff certainly has a lot of trappings of the subgenre. And by dismissing big beat entirely he’s also telling you to ignore Fluke, Lunatic Calm, Meat Beat Manifesto (partially) and the Dub Pistols. All acts whose discographies are well worth visiting.

The final bit of  the “what to avoid” section really takes the cake though:

A lot of the acts that arrived in the wake of The Chemical Brothers and The Prodigy were the electronic equivalents of the dullard bro-rockers taking cues from Oasis at the time. Often lumbering, obvious, and oddly self-satisfied, acts like The Crystal Method, Bentley Rhythm Ace, Propellerheads, Death In Vegas, Groove Armada, and Apollo 440 now sound like relics.

This is stupid in two parts.

First of all, to dismiss an act simply because they came out in the wake of another, more innovative, act is ridiculous. Music scenes are built on the idea of artists drawing immediate influence from other artists. And yes, this does often lead to poor pathetic copycats (post-grunge, I’m looking at you), it doesn’t mean those other acts are without any merit.

But that’s not even the dumbest, most ignorant thing about that statement. The Crystal Method were taking cues from The Chemical Brothers? Let’s visit or discography timelines, shall we?

The Crystal Method’s first single was “Now Is The Time,” it was originally released in 1994. That’s a full year before The Chemical Brothers’ first single or album came out. (I know that they were making music as The Dust Brothers beforehand, but that didn’t really put them on the map).

So the idea that The Crystal Method were a Creed to The Chemical Brother’s Pearl Jam is nonsensical and chronologically impossible. Same for the Proppellerheads, their first single dropped in 1996, less than a year after The Chemical Brothers’. Groove Armada’s first singles were in 1997, far enough away for them to possibly cite The Chemical Brothers as an influence, but not far enough away for them to be second-generation copycats. Same for Death In Vegas and even Bentley Rhythm Ace.

(I can kind of give the writer Apollo 440 though.)


I get the point of this article, and why acts like Aphex Twin, Autechre, Squarepusher and Boards of Canada weren’t mentioned. It’s supposed to be an introduction to a genre, and nothing about a lot of the best electronic music of the late-90s is newbie-friendly. But to not mention The Orb, Goldie, Roni Size, Basement Jaxx or Faithless? That’s some of the best, most accesible electronic music of all-time! When you see those kinds of glaring omissions, along with the blatant factual errors that run rampant throughout the piece, it makes you wonder: what kind of electronic “expert” wrote this article? Who could be that clueless?

Then you see that the writer of the article was Scott Plagenhoef and it all makes a lot more sense.

Plagenhoef is the former editor of Pitchfork, the hispster online music mag. The place where music journalism and originality go to die, replaced with bullshit posturing and elitist second-guessing over what’s cool, what’s ironically cool, and what’s trying too hard to be ironically cool. How this asshat somehow got to be the goto electronic music expert for The A.V. Club just goes to show that you can bullshit your way into anywhere if you’re popular enough.

Even if portions of your article are nearly self-plagiarized from an entirely similar piece that you wrote for GQ just a month earlier.

Lazy fuck.

Lament the state of music journalism with me as you check out these great remixes, all culled from various 12″ singles.

Daft Punk
Around The World (Motorbass Vice Mix)
Teachers (Extended Mix)
Some of the commenters on the AV Club article bemoan that Daft Punk wasn’t mentioned. I can see their point, but it’s really not a legit complaint. Daft Punk only released one album in the 90s, 1997’s Homework and when you go back to that record now, it really pales in comparison to Discovery, which came out in 2000. Sure, “Around The World” may still sound great, even in remixed form, but a track like “Teachers”? It doesn’t hold up nearly as well.

Mercury And Solace (Dub Mix)
Mecury And Solace (Quivvers Transatlantic Remix)
Another almost-but-not-quite act that one could consider for an “intro to electronica” playlist, BT’s body of work is just too damn diverse to serve as a friendly/easy introduction for anyone looking to get into electronic music today. At least nearly everything the dude has put out has been good to great. If you do know someone who you are trying to get into electronic music, you could do worse than this track, but I would also recommend “Blue Skies,” his rad collaboration with Tori Amos.

Lush (1926 Trancedance Mix)
Orbital have a new album out don’t they? Any word? I want to check it out, but I knew they kind of ran out of steam when they called it quits before. This mix is early-90s Orbital. Prime stuff.

Go (Low Spirit Mix)
Go (Voodoo Child Mix)
So many people continue to hate on Moby and I just don’t get it. So he sold off all his music to commercials? So what? It’s not like he’s Rage Against The Machine or Anti-Flag, with some crazy punk rock anti-corporate stance. A Moby’s gotta eat! Let the dude make his cash. I’ve met Moby twice, he’s the nicest dude on the planet. Give it a rest already. These two mixes of “Go” are from a 1991 12″ single. Put them on your workout mix, it’ll work wonders.

The Crystal Method 
Busy Child (Taylor’s Hope for Evolution Mix)
The Dubeliscious Groove (Fly Spanish Version)
Now Is The Time (Secret Knowledge Overkill Mix)
Now Is The Time (Cloud 9 Mix)
Now Is The Time (The Olympic Mix) (Record Live In Atlanta)
$20 (or a cookie) to the person who can tell me how to pronounce “Dubeliscious.”

The Citadel Is A Lie

Tuesday, March 13th, 2012

I’m going to try to update more this week. I’m not covering anything for any magazines right now, I’m not traveling at the moment, and I’m done getting my heart ripped out and shit on by Mass Effect 3 (thanks so much for that ending, BioWare). So hopefully I can plow through my massive backlog of electronic singles that I pick up last week.

In other news, I have a new(ish) post at my other blog, Random Record Reviews! Read it. Leave a comment already! I like positive reinforcement.

Also, do you want to buy some of my records? Well, I’ll be selling some on Marth 24th at the Pittsburgh Record Fest, located at Belvedere’s (4016 Butler Street) from 7pm to…whenever they kick me out! Stop by! I’ll be the big guy with exact change.

Daft Punk
Around The World (Kenlou Remix)
Around The World (M.A.W. Remix)
Around The World (Mellow Mix)
Around The World (RAW Dub)
All these remxies are by the duo Masters At Work, names I have seen on seemingly countless singles throughout the years. They’re good, but chill (a common theme for tonight).

Conjure One (Featuring Sinead O’Connor)
Tears From The Moon (Hybrid Twisted On The Terrace Mix)
Tears From The Moon (Robbie Rivera Mix)
Tears From The Moon (Carmen Rizzo Stateside West Chill Out Mix)
If I see a single that has the word “Hybrid” followed by the word “mix” or “remix” then I will probably buy it, as they are my favorite trance act of all time. It’s a decision that pays off more often than not, and it really paid off here. This song is great, and all of the remixes improve on it in their own unique way.

I never heard of Conjure One before I bought this single and I was shocked to find in my research that it’s the work of Rhys Fulber, who started out as a member of Front Line Assembly. From electro-industrial-metal to beautiful progressive trance music in less than a decade? Maybe he switched from heroin to ecstasy or something. Regardless, these mixes are really amazing. Even if you don’t like electronic music I think you should check them out, especially the Hyrbid one, because…Hybrid.

Release One
Release Two
Release Four
Typically I’m not a fan of dub electronic music. I like my tunes with a bit more energy and a bit less weed. But these mixes of “Release The Pressure” appeal to me for some reason. Maybe it’s because most of them cut down on the reggae vocals and replace them with more chill beats. Of the three, my favorite is “Release Two,” it’s build is pretty great.

And don’t ask me where “Release Three” is, because my 12″ single didn’t have it.

Christiansands (The Imposter’s Mix)
Ghetto Youth
Much like the Leftfield mixes, these tracks are some chill-ass dub. Unlike the Leftfield mixes, they’re a little more uneven. Sure, the “Imposter’s Mix” of “Christiansands” is great (pretty much because it’s just an extended mix of the already amazing track) but “Ghetto Youth” is a bit on the annoying side since it’s pretty much just an incomprehensible reggae-sounding dude babbling over a beat. “Flynn” is barely more than just a barrage of beats, but it’s only two and a half minutes long so it doesn’t outstay its welcome.

Utah Saints
Lost Vagueness (Oliver Lieb’s Main Mix)
Lost Vagueness (Deadly Avenger Infantile Vocal Mix)
Lost Vagueness (Central Club Remix Edit)
Lost Vagueness (Josh Wink’s Deep Interpretation)
And in the “I would have never guessed the source of that sample” department, the vocal track on this excellent song by the Utah Saints was actually lifted from The Pretenders’ “I Go To Sleep.” And I thought their Kate Bush sample was random.

Utah Saints are awesome. Their first album came out in 1993, and their second in 2000, does that mean we’re overdue for a third? I know they’re still around, they just did a mix for Mixmag, so why the hell can’t they put out a new LP? I need more dance music that’s built of blatant vocal samples dammit. Get on that shit.

Post-Christmas/Pre-New Year’s Dance Party

Wednesday, December 28th, 2011

How was everyone’s holidays? Did you spend them in Toledo? If not, then you did better than I.

Actually, during my trip I went to a few good record stores in Columbus and Dayton (I know! Something good in Dayton!

Number 1 (Alan Braxe and Fred Falke Instrumental Remix)
I totally thought that said “Fake Instrumental Remix” and I was like “what the fuck is a fake instrumental?” I think I need new glasses.

This is an actual, non-fake, instrumental, and one of the better instrumental remixes I’ve heard. It’s totally space disco and I love it. They should play this in a club in Mass Effect 3. It’s also great because it allows me to enjoy a Goldfrapp song without having to hear Allison Goldfrapp’s voice.

It brings back bad memories…it’s a long story.

Daft Punk
Around The World (Tee’s Frozen Sun Mix)
Around The World (I:Cube Remix)
Around The World (Motorbass Vice Mix)
I got these great remixes from a test pressing promo, complete with handwritten notes on the label and no tracklisting (I figured out the tracklisting by looking online). While the first and third remixes were released on various CD singles, the second mix was a vinyl exclusive from as far as I can tell, and a rather limited one at that. Of course, it’s the best one of the bunch as well. Go figure.

Gus Gus
David (Darren Emerson’s Underwater Remix)
David (King Britt’s Underwater Remix)
David (Medicine 8 Remix)
I thought the line “I still have last night in my body” was icky at first, until I recalled several hangovers of my college days, and suddenly I identified.

Of these three remixes, the Darren Emerson one is the best. But that really shouldn’t be a surprise now should it?

Crate Diggin’ in Oregon

Thursday, November 25th, 2010

I am in Oregon to visit my mom for Thanksgiving, but my mom knows me (thank God one parent does) and she knows that whenever I go anywhere I want to find the nearest record stores and raid them all. So on Tuesday we made the trek to Portland to visit as many record stores as possible.

Okay…Portland kicks ASS when it comes to record stores. Holy crap. We went to eight different stores that day, and we still didn’t manage to make it to all of them. It totally blew my mind. Whoever said the indie record store is dead sure as hell hasn’t made it to the Pacific Northwest.

The stores were so amazing that I feel the need to share just how bitchin’ they are. So now I present to you The Lost Turntable guide to Portland/Salem/McMinnville record stores. Enjoy.

Everyday Music
There are at least two of these in Portland, but I only went to the one by Burnside. Wow. This place is massive, easily the second biggest record store I have ever been in (next to Jerry’s), with a little less than half of its epic floor space dedicated to nothing but vinyl.  Not only do they have a shitload of vinyl, but they got it organized. Everything is in alphabetical order, and with no “miscellanous” sections. If they have a record by a band, then it gets a placard. So its possible to browse their hundreds and thousands of records in just 30 minutes or so. Most of their focus seemed to be on new vinyl LPs, not much in the way of used stuff or 12” singles, but I did find a few. That’s not an insult on the place though, it was truly amazing. I didn’t even scratch their CD section, but it also looked pretty impressive. To top it all off, the staff seemed very nice and friendly. A truly excellent all around record store.

Jackpot Records
There are two of these in the greater Portland area, and I went to both of them. Both are excellent stores, with a small but diverse selection of rock and electronic LPs and CDs. I cleaned up at both locations, scoring some excellent new and used records that might be featured here in the coming weeks. I also bought an awesome 7” of Nirvana’s “Sliver” at one of the stores, which made my day. I didn’t really search their CD sections, but my mom (who has totally awesome taste in music, even if she does like Paula Cole) found stuff she liked at both stores, so that bodes well for them. The dudes at these stores were very cool, and even helped me locate other record stores in the area. A great store.

2nd Avenue Records
This indie store (located on, shocker, 2nd Ave) is very uneven. I was able to score a crapton of Erasure singles at prices ranging from 2 to 5 bucks, which was awesome, but the Bjork singles cost $25! So the uneven pricing kind of annoyed me. Still, their selection of LPs is pretty stellar, with a good diverse inventory of rock, rap, electronic, soundtracks and even reggae. They have CDs too, but they were all under glass and seemed to mostly be punk and rock. The woman  behind the counter, who I assume was the owner, seemed very nice, but also a little quiet. This store was very good, but their pricing left a bad taste in my mouth. But depending on what you’re looking for, it could be quite the find.

Platinum Records
This isn’t really a record store for the everyday consumer, it’s a DJ supply store that just happens to sell records. Their selection is obviously skewed towards this demographic; hip-hop, house, trance and pop for the most part, with some dnb and other electronic genres fleshing it out. Their shit is expensive though, I spent about 10 bucks per 12” single. Still, it was stuff I would have never found in any other store, so it was still worth it. The dudes working there were pretty cool, but they seemed confused as to why a big white nerd and his mom were browsing their progressive trance section.

Music Millennium
Wow. This place is amazing. The entire second floor is dedicated to vinyl, and they have a pretty stellar collection of both new and used records. The first floor had much more, from CDs to DVDs to toys and all kinds of other stuff. This is definitely your all purpose record store, with something for everyone. I didn’t buy a ton here, but I sure as hell could have! One of the clerks called 7” singles “those funny little records that only have two songs,” so they aren’t all what I would call “knowledgeable” but they were all very nice and fun to talk to.

So this place is a little crazy. It’s one store, with one clerk/employee, but over 30 individual dealers have their own little areas with their own records. So its about as organized as my brain (so not at all) and a real crate digger could get lost forever in there. I didn’t go through everything, but by just skimming I spent about 50 bucks on records that cost anywhere between 3 to 12 bucks. It also has an amazing ceiling.

Ranch Records
There are a few of these in Oregon and Washington, I went to two of them, one in Salem and the other in tiny little town called McMinnville. Judging from the massive collection of Elvis Costello bootlegs at both locations, and the Elvis Costello stained-glass window at the Salem location, I’m willing to bet the owner of this chain really likes Stiff records. Both stores had a great selection of newer vinyl as well as some choice older ones. They also had great collectibles, like a $250 Sub-Pop box set I’ll never own. Good CD selections as well and a very nice staff. Much like Millennium Music, this is a great all-purpose record store for both new and old music and it gets my highest recommendation.

Harvest Records
Quaint for sure, this tiny little hole in the wall in Salem doesn’t have a ton of records or CDs, but what it lacks in inventory it more than makes up for in charm. One dude runs the place, and he looks like he hasn’t left the store since 1977. I have a feeling that if you mention you like Pink Floyd or Rush to him he might become your best friend in the world. Shit, after talking to him for 10 minutes he invited me to hang out with him on Thanksgiving! Really cool dude. And while the store doesn’t have the greatest selection in the world, it does have a lot of quality shit. For example, everything from tonight’s post was taken from CDs bought at this store!

Information Society
Running (Calderone Leather Radio Edit)
Running (Robbie Rivera Diskofied Vocal Edit)
Running (Calderone Leather Mix)
Running (Robbie Rivera Smooth House Mix)
What’s On Your Mind (Pure Energy) [Pure Energy 2001 Edit]
What’s On Your Mind (Pure Energy) [Boris + Beck Exit Edit]
What’s On Your Mind (Pure Energy) [Junior’s Blue Zone Club Mix]
What’s On Your Mind (Pure Energy) [Boris + Beck Exit Mix]
What’s On Your Mind (Pure Energy) [Sugarpussy Psychic Funk Mix]

Wow right? These are from two CD singles that I paid a whopping combined seven bucks for! Good deal huh? Most of these mixes are crazy long too, so this is about an hour of InSoc. Give thanks for that shit when you’re scarfing down turkey today.

Daft Punk
Burnin’ (Ian Pooley “Cut Up Mix”)
Burnin’ (Slam Mix)

I bought two Daft Punk singles at Harvest. Burnin’ and Digital Love. Unfotunately for all of you, all the remixes and b-sides from Digital Love are available on either Discovery or Daft Club, so I’m not posting them. These remixes for Burnin’ remain out-of-print however, so enjoy them while your stomach burns from indigestion and I’ll see you all again after the holiday.

Spandau Homies

Saturday, December 12th, 2009

So no one wants to comment on the brilliance of Fireballet? Geez, I thought you guys were cool. What, you’re too good to hear a 19-minute prog-rock version of “Night On Bald Mountain?” Pussies. If you guys keep this up I just might…um…complain about it next time.

Spandau Ballet
Lifeline (Club Mix)
Lifeline (Dub Mix)

So I’m walking out of a restaurant with a friend and somehow Spandau Ballet comes up in conversation and she says “Ooh I love them” so I start a spontaneous performance of “Gold” in front of her. However, her definition of “Ooh I love them” is really just “Ooh, I like that song ‘True'” so I’m just dancing around like an idiot in front of her singing a song she’s never heard.

This kind of thing happens to me a lot.

This remix is from a 12” single.

The Stranglers
Always The Sun (Hot Mix)
Even though I own four Stranglers 12” singles I have yet to buy any of their albums save for a greatest hits collection. So do not ask me how this song is different from the regular version, because I do not know. It’s pretty though. And unlike the other pretty Stranglers song I know I’m fairly certain this one is not about heroin.

Daft Punk
Revolution 909 (Roger & Junior’s Revolutionary War Mix)
Yay! Yay! Daft Punk remix! I got nothing else on this, sorry. It’s from a 12”, it’s good. The Junior in the title is Junior Sanchez. Download it. Enjoy.

Basket Case (Whitecoat Mix)
Basket Case (Blackcoat Mix)
Basket Case (Mr Raucous Rides Again Version)

This is by far the best house track to sample an early 80s grindhouse flick, unless there’s some unheard classic that riffs off of C.H.U.D. In case you have no idea as to what I am talking about, this song samples, and is named after Basket Case, a classic piece of sleaze from 1982 about a guy who keeps his deformed, psychopathic twin in an extra-large picnic basket as they go on a murder spree to get revenge against those who separated them. It’s an amazing filthy offensive masterpiece and I can’t recommend it enough. Don’t take that as an endorsement of the sequels though, those are two of the worst movies ever made.

Eon, the maker of this bitchin’ track, sadly passed away earlier this year from complications stemming with pneumonia. If you want to check out some of his excellent other tracks (including one that samples the movie Dune) check this page out.

When it Rains it Rains Shit

Monday, April 13th, 2009

April. I hate April. I’ve detailed my reasons why before, I’m not getting into those past pains again. I will tell you though that so far this month I’ve had five of my fish die, pulled my abdominal muscles and faced something so weird I’m not even getting into it here. The sad thing is that the month isn’t even halfway over yet.

I really gotta look into getting that April/Nuclear shelter built in my basement, stocking it with 12” singles, a TV and an Xbox and just sitting this whole month out next year.

Also, every nerd that reads this should go to my friend Anna’s blog. She’s cool and she knows more about computers and video games than you do.

Daft Punk
Da Funk (Armand Van Helden Remix)
I don’t find a lot of Daft Punk at Jerry’s that much. I think it’s like Dark Side Of the Moon, if you bought it you probably intend on keeping it. On the off chance that I score a Daft Punk single it’s usually worn to hell and back. I’m still morning the horrid condition of the “Better Faster Stronger” 12” I got a few months ago, thing barely played. However, this one played amazingly well and I get to share it’s amazing awesomeness with you amazingly awesome people.

Man on Mars (Extended Club Mix)
Man on Mars (DJ Tibby Remix)
Man on Mars (DJ Jan Remix)
Man on Mars (Talla 2XLC Remix)
There’s not enough space-themed electronic music, don’t you think? Doesn’t make sense. Someone needs to get on that, I think the astronauts deserve more than Hawkwind and Rush records. I think this is a pretty good trance track, even thought I’m not a huge fan of the genre outside of progressive trance like Hybrid – who are also kind of sci-fi themed. Maybe I just like spaceships in my dance music, who knows? Interesting/useless bit of trivia, there was also a rock band named Komakino, which proves that no matter how obscure the Joy Division reference you may come up with, someone else beat you to it. These are from a 12” single.

Pussy 2000
It’s Gonna Be Alright (Rockdapussy Mix)
It’s Gonna Be Alright (Hard Pussy Mix)
It’s Gonna Be Alright (DJ Sneak Vocal Edit)
It’s Gonna Be Alright (Original 2001 Mix)
Yes, it’s official, that is the worst name of a house DJ act I have ever seen. Pussy 2000? What the hell were they thinking? Not only is it disgusting, it instantly dates them! It’s gross and impractical! What a horrible combination! It’s a shame too, because this track, which samples The Clash’s “Rock The Casbah” is actually kind of good. I’d also like to state that I picked up this 12” because the credits had Joe Strummer on it, and not because the name of the group. Seriously. I’m serious.

Stop judging me.