Archive for the ‘remixes’ Category

Ryuichi Sakamoto – Discord Gütninja Remixes

Monday, June 10th, 2013

Been neglecting Lost Turntable in favor of Mostly-Retro for the past week or so. Sorry about that, getting a blog up and running is hard work, especially when you’re trying to balance it with work that actually pays. In case you’re interested, some stuff I’ve put up there recently includes this review of the latest by Queens Of The Stone Age, and a rather obscene take on Microsoft’s rather obscene used games policy they seem to be adopting with the Xbox One. If you miss my foul-mouthed rants of old then you should probably read that post. I suspect you’ll like it.

Now music.

Ryuichi Sakamoto
Discord - Gütninja Remixes (complete album download)
I bought this in Tokyo, and recorded it last month. About the only thing that has stopped me from sharing it here is trying to figure out how to write about it, as well as the realization that only about five other people in the world will care about it. But hey, I’m sure those five people will be stoked.  For the rest of you, I’ll try to talk you into downloading this and giving it a chance.

I’ve written about Sakamoto on this site before, but in case you missed those posts, here’s a quick refresher. Ryuichi Sakamoto was part of the super-influential/amazing/incredible Japanese electronic pop group Yellow Magic Orchestra; a group who helped to lay the groundwork for synth-pop, electronic dance and even chip-tune. After they disbanded in the mid-80s, Sakamoto embarked on his wildly diverse and successful solo career, which includes mainstream rock music, ambient electronica, and orchestral compositions. He even won an Oscar in 1987 for his work with David Byrne and Cong Su on The Last Emperor.

In 1997, Sakamoto released Discord, his first classical work that was not for the screen (although many of his previous works had some classical elements). Primarily orchestral with a touch of piano, the album also featured some guitar and even some turntablism from DJ Spooky, so even if classical isn’t your thing, I think you should give it a chance. It’s really different.

Two years later, Sakamoto (or someone on Sakamoto’s label) handed Discord off to various DJs, producers and other electronic musicians for remixing, and the result is this album. It’s something special and unique, thanks largely to the remixers chosen for the project, who include Amon Tobin, Coldcut, Andrea Parker and Tavin Singh (a lot of Ninja Tune is on this record). They really work to transform the classical compositions into entirely new tracks, sometimes removing and reworking so much of the original pieces that they’re nearly unrecognizable. That’s not a bad thing in this case, however, all these tracks are great, even when they have little to nothing in common with the source material.

In case you can’t tell, I really dig this record. It’s pretty much everything I love all rolled into one big ball of awesome; Sakamoto, Ninja Tune, crazy remixes, and awesome weird Japanese shit. I really hope I’ve convinced you to check it out too.

Audio update, now with Janet Jackson

Wednesday, May 29th, 2013

Okay, so last night I had a near nervous breakdown over audio issues. Because that’s what normal people do right?

Don’t answer that please.

So, here was my problem: My ART USB Phono Plus for, whatever reason, did not agree with my new computer. When I went from line-in to USB (analog-to-digital) all the high end on my recordings got cut off. It didn’t matter what USB port I used, or how I configured my recording setup, no matter what I did it always sounds the same. And my other preamp, the cheapo regular one, gave me crazy R/F interference that practically made it unusable.

I was just about ready to call it quits for the night, but then I had an epiphany: What if I used my ART Preamp like a regular pre-amp? Meaning I would hook it up to my computer via USB for power, but then run audio cables from the line-out on it into the line-in on my computer? Maybe that would bypass the shit filtering that was going on with the USB connection and I would get my high-end sounding better?

Tried it. It worked. I could finally hear the high-end. I was happy. That’s where I left things last night, with my “MY SHIT SOUNDS DOPE” update.

I spoke a bit too soon though. While my shit sounded good, “dope” was a bit of hyperbole (especially DOPE in caps).

Upon further review, I was still getting a good deal of line noise. Nothing crazy, about the same that I had before, but since I was no longer losing the high-end, I think I was able to hear it better. It was driving me crazy. So, then I had another idea: the ART USB Phono Plus can be powered by either USB or AC. What if I powered it by AC? Would removing USB from the equation help?

Bought an AC adapter for it, plugged it in, gave that a go. Nope. Actually it made it worse. At least I thought it did. So then I plugged the USB connection back into the computer while leaving the AC adapter plugged in, and then I tried to do a compare and contrast between recording via the USB and recording via the line-in. However, I noticed something odd; with the ART running off both USB and AC power it generated far less line noise. It was nearly inaudible over my speakers, and very quiet over my headphones. I suspect that  may have properly grounded it? Maybe did something to block off more RFT? I don’t know.

I could still hear it enough for it to moderately bug me though, so I decided to give some software filters a chance. First I tried Audacity. As always, it fell short. The noise removal in that doesn’t do the job for me. It removes it from quiet sections just fine, but if you’re working with anything that has bursts of noise in a quiet section then you can still hear the noise buried int he louder parts, at least I can anyways. No matter how much I fiddled with the settings in Audacity I couldn’t get it to work. The hiss removal in iZotope wasn’t much better either.

Then I remembered that the maker of my favorite click removal software, ClickRepair, also sells a program that removes line noise, aptly called DeNoise. I download that and gave that a shot, sticking mostly with the automatic settings.

Wow!  It works great. Between my reduced line noise coming in and the added help of DeNoise, my recordings are quieter and clearer than ever before. The difference is pretty amazing, Now I think my shit sounds dope. I don’t know though. You be the judge with tonight’s recordings.

Janet Jackson
Miss You Much (Mama Mix)
Miss You Much (Sing It Yourself Mix)
Miss You Much (Oh I Like That Mix)
You Need Me
I was going to test out my new setup with an abstract orchestral composition by Ryuichi Sakamoto, but I thought it might behoove me to use a song that people have actually heard before, so they can compare and contrast. Hence, Miss Jackson (if you’re Nasty).

Beastie Boys
The Beastie Boys Medley
Hey Ladies (Extended Funky Mix)
These are both from “Ultimix” LPs, special DJ only records. Typically, these things tend to suck. They’re usually quick and sloppy re-edits that don’t add anything new or original to the tracks. These mixes are pretty good though, the “Hey Ladies” extended mix ads a lot to the track and is a lot of fun.

 

I want to set all the preamps on fire

Thursday, May 23rd, 2013

Okay, so here’s what happened.

A few days ago I wrote a review for Daft Punk’s totally awesome Random Access Memories. As per usual with my uber-geeky reviews, I also went into some detail about the compression of the digital version of the album compared to the vinyl release. Then I went onto say that the vinyl also sounded slightly different, its drums seemed muted, and the bass seemed louder.

I can see what links people clicked on to get to my blog, and I like to do that everyday. It so happened that this review caught on with some people at an audiophile message board. Somewhere there commented that the album doesn’t actually sound like that on vinyl, and that if I had a certain cartridge on my turntable then it would sound better.

Now, I take audiophile comments with a grain of salt, especially when they’re along the lines of “you need this $500 cartridge to really appreciate your music, man.” But I have been unhappy with the quality of my rips for some time now.

This happens every year or so. I get a setup that I think I ‘ll finally be happy with, but then as I listen to more and more music and rip more and more vinyl, I start to pick out imperfections. In this case, I have long suspected that my rips were too, I don’t know how to describe it, muddy, I guess? Like they were muted and muddled a bit. Nothing horrible. I bet 90% of the people who listen to them think they’re fine, but it was bothering me. So I took a little more interest in what this guy had to say.

So then I went to my audiophile message board of choice, Audiokarma and asked about my problem at hand. I even brought audio samples. The people there suggested that I was looking for a more “aggressive” cartridge, and they steered me towards a couple that were much more in my price range. However, one person also suggested that something else could be at fault, that my setup might not be jiving well with my preamp.

Curious, I dug out an old cheap solid state preamp that I bought years ago and hooked it up to my system. Lo and behold, my audio sounded much crisper, the drums were no longer muted, nothing sounded “underwater.” I was happy. For about 20 seconds.

You see, the problem with this preamp is that it sucks. I guess that’s kind of vague, I’ll explain more. It has lousy shielding. it picks up radio frequencies like a motherfucker. If I crank it on full blast I can hear the classic rock station as well as I can my music. Additionally, it has a wicked hum that just never goes away.

So off to Radio Shack I went (yay) to pick up some grounding cable and a ground loop isolator. I figured if one didn’t do the trick the other would.

Hooked up the ground loop isolator, it made things worse.

Tried to hook up a grounding cable, and that presented itself with a whole other heap of problems. See, my turntable has been modified to not need a ground cable hooked up to it. That’s great, however it leaves me nowhere to hook up the ground cable coming out of my preamp. Feeling MacGuvyerish, I tried wrapping one end around a copper pipe in my bathroom (it was a long cable) but that also just made things worse.

So here’s how I stand right now. I have one preamp that gives me no interference, but it sounds like shit. I have another that sounds great, but it’s muddled with interference.

My head kinda wants to explode. Which is bullshit because I have exploding head syndrome so it does that shit already.

I’m looking into some other pre-amps, but this shouldn’t be that hard. I think that if I were able to properly ground my pre-amp then I would at least be able to eliminate the damn hum, and maybe from there I’d figure out a way to get rid of the RFI. Anyone have any suggestions? I keep reading things like “attach it to a three pin plug” but what the hell does that even mean? Wrap it around a three prong power plug? That doesn’t seem like a wise idea. As much as I love audiophile boards, they sure as hell have a hard time explaining the simplest of concepts. In fact, I still don’t entirely understand what a fucking ground loop is, other than that they’re bad and I don’t want them. Is it really such a complex fucking concept to get across?  Argh.

Anyways, I wrote another big thing at Mostly Retro, a guide to Giorgio Moroder’s music. I suspect that if you’re the kind of person who comes to this blog, you already know all there is to know about Moroder, but if you know someone who doesn’t and might be interested, send them my way. I’d appreciate it.

I also started putting “buy at Amazon” links on MR, and whenever you buy something from an affiliate link I get a cut. So hey, maybe check out that article and buy some motherfucking Donna Summer. (There’s also a Donate button there too, just sayin’).

Sigh, I’m fucking exhausted. And I really have nothing to say about tonight’s music other than “I like it a lot,” so enjoy.

DJ Rap
Bad Girl (BT’s Spoken Progenitor Mix)
Bad Girl (Bad Girl Roller Remix)
Bad Girl (BT’s Titanium Dub)

Psykosonik
Panik Kontrol

A Guy Called Gerald
Voodoo Ray (Extended Mix)
Voodoo Ray (Gerald’s Rham On Acid Remix)
Voodoo Ray (Paradise Ballroom Mix)
Voodoo Ray (Penthouse Mix)
Voodoo Ray (Voodoo Raydio Mix)

UPDATE: HOLY SHIT I FIGURED IT OUT AND NOW MY SHIT SOUNDS DOPE AGAIN. I’LL GO INTO DETAIL LATER.

*HIGH FIVES EVERYONE*

These songs didn’t need dance remixes

Friday, May 10th, 2013

New on Mostly-Retro, a review of the amazing Blade Runner soundtrack vinyl re-issue, and a look at an INCREDIBLY stupid movie on Netflix.

And with that out the way, I now present the latest in my continuing efforts to share the dumbest music possible:

Collective Soul - Shine (Souza Mix) 
Queen - We Will Rock You (Bass Kicks Micks)
The Eagles - Heartache Tonight (Hell Freezes Over Mix)
Joan Jett & The Blackhearts - I Love Rock & Roll (Dance To This Mix)
The Breeders - Cannonball (Bass Line Mix)
Lenny Kravitz - Are You Gonna Go My Way (Rip That Guitar Miques)
Oh boy, these are dumb.

So in the 80s and 90s (and maybe probably today to a lesser extent) there were special labels that strictly released “DJ Only” singles and records. I think I wrote about these before. Typically, these releases would include special edits or mixes of popular tunes, or sometimes they would even include their own “megamixes,” saving club DJs the time and effort (and skill) of having to mix tracks together.

Most of the time these releases focused on “dance” tracks, or at the very least, rock songs with a strong dance focus. I’m sure there is an “Ultimix” record out there with an extended dance edit of “Centerfold,” for example. Also, in nearly all the cases I’ve come across, the songs are just mixes and not remixes. What’s the difference?

Typically speaking, a remix is a song that has been modified by someone who has access to the original masters. Remixers usually remove and/or drastically rework original aspects of a song, and almost always add their own elements as well. Remixes may also use different vocal takes or other outtakes by the original artist.

A mix, on the other hand, is more like a re-edit of a song. More often than not, mixers do not have access to the original masters, so they’re rather limited as to what they can change.  So all they really do is add in a couple extra breaks to the beginning and end of a song, throw in some new beats or maybe extend the breakdown in the middle, all stuff done to make the song easier for DJs to mix into another track, or make the song more dance-friendly. These tracks are all perfect examples of mixes, taking the original song, taking on some extra beats or basslines, and not much else.

That, however, does not make them any less hilarious. A dance mix of “Shine?” What the fuck? “Heartache Tonight?” Why? Who the fuck thought that was a good idea? I guess the hysteria from the then-recent Eagles reunion was fucking rampant.

(Side note: I remember when the Eagles reunion concert aired on VH1 that year, holy shit my dad was one stoked old white dude.)

So yeah, if you like dumb shit (and boy, if you don’t then goddamn are you at the wrong blog) then you should dig these.

And if you like The Eagles, fuck you.

Bassheads of the world unite

Wednesday, May 8th, 2013

A couple new posts on Mostly-Retro. First up I got a review of the Astralwerks 20/20 Record Store Day box set (spoiler: it sucks). Then I have part two in my journey down the rabbit hole of Atari “soundtracks” with my look at the Missile Command LP (spoiler: it’s dumb). Check them out both and tell all your friends who like awesome reviews of awesome shit about them as well.

In case anyone was wondering, I’m feeling a lot better now. The rage and anger from the past few days has passed and I’m actually feeling pretty good. I’m feeling so good that I had a post planned out with some really soothing and relaxing progressive trance but FUCK THAT SHIT LETS TEAR IT UP WITH DRUM AND BASS.

Dom & Roland
Parasite
Homicide
Killa Bullet
Dumbo
Dom & Roland is one dude, right? Damn, that’s confusing as hell. Why the hell did he do that?

(Goes to Wikipedia to figure this shit out.)

Oh, so his name is Dom(inic) and the Roland in question is his Roland sampler. Ah, that makes sense. And the fact that I couldn’t figure that out on my own makes me feel like a dumbass.

As much as I love drum and bass, I have a hard as hell time trying to get all the subgenres straight. What would you call this? This is techstep, with it’s sci-fi feel, twisty bass sounds and occasional vocal sample, right? Whatever the hell it’s called, I love it. I could listen to this kind of shit 24 hours a day. In fact, I think if I had to stay up for 24 hours straight, this music would work just as well as coffee. These beats kick coffee’s ass. “Killa Bullet” is the most hardcore shit ever and I love it.

Rob & Goldie
Distorted Dreams
The Shadow
The Shadow (Bing Here Mix)
The Shadow (Process Mix)
True story. I went to Ultra Music Festival a few years back. It was a horrible experience and I advise against it. It was too hot, water was overpriced, and the noise bleed from stage to stage was horrendous. Anyways, Goldie was playing the fest, and I knew I had to make my way to his stage to see him. Goldie is a god of dnb, one of the originators, catching a set by him was simply a must.

I got there a few minutes early and the tent he was playing at was already pretty packed, but I soon found out that most of the kids there were there to catch the act after Goldie, and not Goldie himself. In fact, when Goldie took the stage I heard a number of “fans” bemoan “who’s this old dude?”

This was the drum and bass tent, these people were there to listen to drum and bass. They did not know who Goldie was. He nearly invented the fucking genre (yes, I know that’s an exaggeration  but you know what I mean). That would be like going to a “classic rock” show and asking who Led Zeppelin was.

Fucking heathens.

SPECIAL BONUS TRACK
Mother
Goldie’s hour-long opener to his double-disc sophomore album Saturn Returnz, the Tusk of drum and bass records. Seriously, this song is an hour-long, so clear your schedule before you listen to it.

This Post Is Straight Edge

Thursday, May 2nd, 2013

Quick self-serving news: new post over at Mostly-Retro, a look at the “soundtrack” LP to Atari’s Asteroids. It’s pretty ridiculous. If you like it, please share it with your friends.

Now for a brief public service announcement for everyone who I turned onto Boom Boom Satellites, you should know that they’re doing a live “360 degree” webcast of their Budokan show this Friday! Check out this link to see the countdown timer. Should be pretty awesome.

Finally, if anyone thought last night’s post was excessively stupid. Don’t worry, so do I. Don’t blog drunk kids. If you’re going to write something stupid, write it sober. Own it.

Chumbawamba
Hear No Bullshit (On Fire Mix)
The Day The Nazi Died (1993 Mix)
There’s a lot to say about Chumbawamba, but for a Cliff Notes version of their crazy history check out this great video by critic Todd In The Shadows. He tackles their crazy career pretty well.

As for these songs specifically, “Hear No Bullshit” features lead vocals by the UK rap group Credit To The Nation, and it’s a great radical left-wing hip-hop jam that attacks mainstream sell outs, and the fact that too many rappers can’t seem to get past their sexist bullshit when it comes to lyrical inspiration. This song was written over 20 years ago, and judging from disgusting wastes of humanity like Odd Future, it’s sadly just as relevant now as ever.

Same goes for “The Day The Nazi Died.” It’s an attack on Nazi sympathizer politicians, and if you’ve been paying attention to the current clusterfuck that is Greece as of late, you’ll know that this song has once again become topical as well.

Sigh and ugh.

Eurythmics
Sweet Dreams (Are Made Of These) (’91 Remix)
Sweet Dreams (Are Made Of These (Nightmare Mix)
I Need A Man (Macho Mix)
I Need A Man (Edit)
Beethoven (I Love To Listen To) (Dance Mix)
Beethoven (I Love To Listen To) (7″ Edit)
Most of these are reposts, I put up the “I Need a Man” and “Beethoven” mixes a few years back. But I wasn’t happy with those rips and recently re-recorded them. So if you have those old rips and like those songs at all (and you fucking should) then you ought to download these new rips and replace your old ones.

The “Sweet Dreams’ mixes are new to this site though. I grabbed them off of a very odd DJ bootleg 12” called “Disco Ballroom.” However, they were both official remixes and were first released on legitimate 12″ and CD singles. If you’re listening to the ’91 remix and thinking “oh wow, this is the most amazing dance beat ever” well that’s because that remix is by Giorgio fucking Moroder. He may have done the “Nightmare” mix too, but I don’t think so, it really doesn’t sound like his kind of work.

Orchestral Manoeuvres in the Dark
Brides Of Frankenstein (Mix)
Brides Of Frankenstein (Dub)
Another pair of reposts. Put these up several years (and turntables) back so grab them again even if you have them already.

I also said this back when I first posted this track (which is really a megamix), but it’s worth repeating; this cut has one of the greatest basslines ever.

Covers by Toyah and Cyndi

Monday, April 22nd, 2013

Some  new stuff over at Mostly-Retro!

In case you missed it, I did a small post on this crazy poster that came with the first edition of Kraftwerk’s Ralf Und Florian album. I don’t think that thing has ever been scanned and shared on the Internet before, so if you know any Kraftwerk fans make sure to send them that article!

Next up, and on a much more serious note, there’s this post on Game Theory’s Scott Miller, who left us all too suddenly last week. He meant a lot to me and I hope that someday he’ll be recognized as the songwriting genius he was. You can find all of Game Theory’s music at his official site now, and I wrote up a quick thing about him.

Finally, and on another sad note, Storm Thorgerson died last week too (man, last week was SHIT.) While  he was most well-known for his Pink Floyd covers, he did a lot of other great work too. I put together a quick little gallery featuring some of my favorites.

Mostly-Retro is going along better than I thought it would, and I hope you all enjoy it and share it with your friends. I have some cool stuff planned for that site in the coming weeks and I hope it all comes together.

Got cool stuff planned here too! So don’t worry about that. Check it! Cool stuff! Right here!

It’s really cool.

Toyah
Echo Beach (Surf Mix)
Echo Beach (7″ MIx)
Plenty
This is a cover. The original was by a Canadian new wave band called Martha and the Muffins. There were actually two Marthas in that band at one point, so they really should have been called Marthas and the Muffins, but I guess that doesn’t really roll off the tongue. What are the odds of having two Marthas in a band anyways? Is that like some crazy common name in Canada or something?

I’m getting off topic. This version is by perennial UK oddball Toyah, and I prefer it to the original. It has less horns and more synthesizers. If you ask  me, just about any song can be improved using that formula, except maybe “Careless Whisper.” And possibly “Baker Street.” Although, I don’t know, that melody in “Baker Street” is so great that I think it could work on anything. You could play that shit on a marimba and it would sound great.

Cyndi Lauper
What’s Going On (Club Version)
What’s Going On (Instrumental)
What’s Going On (Long Version)
Okay, so maybe you all can help me out here. If you go to Cyndi Lauper’s official VEVO channel on YouTube to watch this video (which is awesome by the way), it says “ft. Chuck D” after the song title. But, yo, where the hell is Chuck? He is not in this video, he is not rapping, and I highly doubt that’s him playing the bongos. Pardon the obvious joke, but what’s going on with that?

That being said, I really think that a Cyndi Lauper/Chuck D collaboration would be dope and they should really get on that already.

These mixes are by Shep Pettibone, because he remixed everyone in the 80s.

Gay Acid

Tuesday, April 16th, 2013

In case you missed my last post, I finally launched that new site of mine. It’s called Mostly-Retro and it’s going to be a clearinghouse of reviews, essays and other stuff I’ve always wanted to write but couldn’t find the venue for. I plan on updating it two to three times a week if all works out. Don’t worry, I don’t plan on shutting down Lost Turntable anytime soon, but until I get things going at a steady pace over at Mostly-Retro, I might slow down to a post a week here for a month or so. Of course, now that I’ve said that I’m probably going to end up being more productive than ever and post shit nonstop. That’s always how that works.

Anyways, check out the new site! Tell me what you think! Keep it mind it’s still a work in progress, so be nice if you think it looks like butt.

Psychic TV
Joy (credited to DJ Doktor Megatrip with Luv Bass)
Thee Politics Ov Ecstasy (credited to Psychic TV & Jack The Tab)
These are from a 12″ single. I bought it because I thought it was some crazy weird bootleg acid house single. I had no idea that both tracks were actually by Psychic TV and that in the late 80s they released two full albums of acid house under the guise of them being compilation albums, complete with fake artist names for each track. That’s weird. But from what little I know of Psychic TV, weird is par for the course so I’m not even going to try and analyze it.

Seriously, I know next to nothing about Psychic TV aside from the fact that they’ve released, like, a billion albums and that they’re really weird. I don’t know how this stuff compares to the rest of their discography or if they’ve released better acid house music. I just like acid house. And as acid house goes, this is pretty damn great. And really fucking trippy.

Patrick Cowley
Menergy (12″ Remix)
I Wanna Take You Home
Tommy Williams’ Megamedley
I’ve posted some Patrick Cowley before. For those who missed those posts and might not know who he is; Cowley was a legend of late-era disco, and one of the first producers who followed in Moroder’s footsteps, taking disco into the realm of electronica. While Moroder was the original innovator of electronic disco, Cowley took it a whole other level during his brief career (he passed away in 1982), and pretty much laid the foundation for HI-NRG dance music and synthpop along the way. If you like the Pet Shop boys and New Order’s dancier stuff, then you should really dig Cowley.

I posted a mix of “Menergy” a few months ago, but this version is longer, clocking in at about eight and a half minutes, making it even gayer than the original. The b-side “I Wanna Take You Home,” while not as fabulous as “Menergy” is still an excellent example of the type of music that Cowley created. I don’t know who is singing on it though, the 12″ gave no credit. If you have any idea let me know.

Finally, there’s the “Tommy Williams’ Megamedley,” which starts with “Menergy” before going into a mostly instrumental mix of Cowley’s greatest tracks. It’s amazing. This shit is better than 99% of the “EDM” you hear on the radio these days, of course that’s really not saying that much is it?

Rage Against Bonnie Tyler (No, don’t really, she’s really awesome)

Monday, April 8th, 2013

The new site is still on schedule to launch next week. I was hoping to open it with a pretty cool interview, but that fell through twice now, so instead I’m just going to go ahead and get it up and running with some smaller, more humorous bits. Stay tuned for more info. Now for some rap-rock and pop-disco!

Rage Against The Machine
Bullet In The Head (Sir Jinx Remix)
I used to love Rage. Then I hated them. Now I’m pretty much indifferent. I still love most of their music and the messages behind a lot of it, but damn, if they aren’t a bunch of idiotic hypocrites; with hypocrite number one being guitarist Tom Morello.

As many other writes have pointed out over the years, Morello loves to attack the American government for its human rights violations (of which there are many and I am not defending) but he also idolizes people like Lenin and Chairman Mao, evil pricks who are both no strangers to massive violations of basic human rights. I understand that there are always contradictions in a person’s political viewpoints, but that’s a bit much even for me. I’ve never been able to look past that blatant conflict.

More recently, I’ve been hating on the band for all the blatant cash grab bullshit they’ve been doing. I’m not calling them out for being rich socialists, you can be a socialist and be rich. I’m calling them out for being sell out, greedy, capitalism-loving socialists. That reunion tour they did a few years back? That was a nostalgia-driven money grab. No new music. No new messages. Just a group yelling “fuck you I won’t do what you tell me” to audiences of suburban white kids who didn’t give a fuck about the band’s “message.” (You think Paul Ryan is a fluke among Rage fans? He’s the rule, not the exception.)

More recently, I balked at the band’s decision to re-release their self-titled debut as a massive super deluxe edition. Not because I have something against super deluxe editions, but because, much like their recent tours, it was nothing more than a cheap cash grab designed to make as much money as possible, all while exerting as little effort as needed (while still asking fans to pay for a premium for it). That set cost $100. What did that get you? Some live B-sides, a bonus CD with their demo tape, and a DVD with some live footage. Big whoop. How about some actual b-sides? This remix isn’t in that set. What about including the now out-of-print and insanely hard-to-find Live And Rare CD as a gift? One hundred bucks for a bad remaster, a demo tape and some live cuts. Whoop. De. Shit.

Do other bands do this? Yeah! All the time. But hey, Depeche Mode didn’t make a career out of hyping the destruction of capitalism and the power of the working class, so when they put out a shitty overpriced box set it’s not as offensive now is it? Now, if they put out, oh I don’t know, a guide to making it in music while avoiding heroin, then they’d be hypocrites.

Anyways, I still like RATM’s music, I just find it hard to listen to in light of all that stuff. This remix is from a 12″ single, and like I said before, it was not included on $100 super deluxe edition of the album from which the song originally came.

Oh, and one more thing. Thich Quang Duc burned himself alive to bring attention to religious persecution, not to fucking sell records.

Bonnie Tyler
Band of Gold (Extended Version)
Band of Gold (Dub)
The latest in my ongoing quest to pair the least likely artists together as possible.

Another day, another “Band of Gold” cover. For those keeping track at home (and you really should be if you’re not already), this is the fourth version of “Band of Gold” I’ve featured on this site, with the previous versions being renditions by Modern Romance, Belinda Carlisle and Sylvester. Which is the best? Oh boy, that’s a tough call.

Well it’s not that tough. It’s definitely not the Modern Romance version, their cover feels more like a goof than a serious attempt at the song. Belinda’s can go too. I love me some Belinda, but she really can’t hold a candle to the two finalists here. Sylvester is the greatest disco diva of all-time, and Bonnie Tyler probably had one of the most powerful voices of the 80s.

Shit! I can’t choose! They’re both amazing! Sylvester’s is the most fabulous. Bonnie’s is the most fierce. Let’s just leave it at that.

Dance Music vs. Bad People on the Internet

Wednesday, April 3rd, 2013

Downside with working primarily on the Internet: you get to see how horrible people on the Internet are. Today was exceptionally shitty.

I wish it was mandatory for everyone to use their full, legal name on all comments for all websites. If that wouldn’t cut down on the amount of sexist, racist, homophobic bile spewed forth on a daily basis, it would at least make it easier for me to find the people responsible for it and kick them in the knees.

Röyksopp
Eple (Shakedown Remix)
Eple (Fatboy Slim Remix)
Damn umlauts, making me cut and past names from other websites because I can’t be bothered to learn macro codes.

You’ve probably heard this  song and don’t even know it. It was in a billion commercials, and according to Wikipedia it was even used as the start-up music for the Setup Assistant in some versions of Mac OSX. Whatever, the Windows start-up sound is by Brian Eno; that makes Windows is way more indie than Apple ever will be. Boom. Shots fired.

I mostly bought this 12″ for the Fatboy Slim remix, and damn, if it isn’t a wonderful example of Fatboy Slim’s ability to dumb down even the most harmonious and beautiful dance track. Don’t take that as an insult though, I dig what he did to the track. It’s just really, really stupid. It’s impressive how dumb it is. I like purposeful stupidity when it’s done for good and not evil.

Moby
Porcelain (Torsten Stenzel’s Remix)
Porcelain (Force Mass Motion Remix)
Moby was just announced as a headliner for Movement, the big electronic dance music festival in Detroit. Dammit, now I might have to go to Detroit.

If you’ve never seen or heard a live Moby DJ set, try to if you get a chance. While his music isn’t always on target, his DJ sets are massive, amazing house sessions that will make your hair stand on end, your feet catch fire, and your head explode from the sheer awesomeness of it all. Okay, I realize that by saying it like that I kind of make it sound unappealing, but trust me, he’s really good live. Dude can cut a mix like no one’s business.

Both of these mixes are from a 12″ single, and are pretty great, radical re-interpretations of the original. I dig them.

Krust (Featuring Saul Williams)
Coded Language (Roni Size Desert Road Remix)
Coded Language (Roni Size Desert Road Instrumental)
The first line of this song is “Motherfuckers better realize!” and that’s exactly how I felt today. Word, Saul Williams. Word.

This drum and bass remix is pretty great, but it does remove a lot of Williams’ amazing lyrics. That man is a genius. Check out the original version here. Six minutes of one bad motherfucker dropping truth bombs on your ass.