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randomvarious · 2 years

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Today’s compilation:

Bravo Hits 32 2001 Pop / Europop / Hard Trance / R&B / Pop-Rap / Pop-Rock / Euro House / Euro Trance

OK, so, Bravo Hits is, like, a Central European equivalent of Now That's What I Call Music!, specifically focused on the DACH region: Germany (D), Austria (A), and Switzerland (CH). Bravo, the largest German-language teen magazine in the world, puts out four double-disc sets of these fuckers every year, and each DACH country gets their own edition. Each edition's essentially the same, but they also have two or three songs on them that are exclusive to their own edition. And I was able to get my mitts on every song from all three editions of Bravo Hits 32, which came out in February of 2001 😎.

Comps like these from the 90s and 2000s always make for fun trips down memory lane, but from the perspective of a different region of the world. Our top 40 charts in America share a lot in common with other places, and that leads to a nice nostalgia rush for everyone involved, but there's also a lot of music we don't share in common at all. So the goal when listening to these ephemeral things is to get some of that good nostalgia, discover a few sweet tracks that you weren’t previously familiar with, and then hopefully find something so patently absurd and terrible that you can't help but smile at how ridiculous it is. I was able to check off those first two boxes with this release, but unfortunately not the third 😔.

So, all the shared nostalgia between the US and DACH countries is really packed into the first disc here: "Independent Women, Part 1" by Destiny's Child, "Country Grammar" by Nelly, "Who Let the Dogs Out" by Baha Men, and a song that honestly feels a tad bit memory-holed at this point, "Gotta Tell You" by Samantha Mumba. And then there's some good songs on that same disc that were pretty popular in the DACH region, but made little to no inroads in the States: "Overload" by UK girl group Sugababes is an awesome piece of pop that even fucking Pitchfork included on their list of the Top 500 Songs of the 2000s, "Higher & Higher" by Milk & Sugar is a sweet German disco-house bop, and "Things I've Seen" is a song by a rap group from Philly you've probably never heard of called Spooks, whose chorus sounds like it's on a sort of proto-Amy Winehouse lounge singing kind of vibe and whose music video also has fucking Laurence Fishburne in it?!? What?!?

Second disc of this is just plainly awful from top to bottom though, and not in any kind of ironically fun way. It's just boring. Nothing insane, just a bunch of bad and overly sentimental pop-rock and pop and a whole lotta disposable giant Euro-rave hard trance schlock. There's a song on here called "No Alternative" that ironically sounds like an alternative to that awful "Kernkraft 400" song by Zombie Nation. Miss me with all of that!

Disc 1's a really fun ride though. Always love digging into these things in order to see what another part of the world was bopping to at a certain point in time. It allows you to compare and contrast and also find some good music you've never been exposed to before.

Highlights:

CD1:

Sugababes - "Overload (original edit)" Destiny's Child - "Independent Women, Part 1" Nelly - "Country Grammar (Hot ....) (new radio edit)" Baha Men - "Who Let the Dogs Out (single version)" A★Teens - "Upside Down" Samantha Mumba - "Gotta Tell You (single version)" LL Cool J feat. Kelly Price - "You and Me (album version radio edit)" Milk & Sugar - "Higher & Higher (David Morales reconstructed radio mix)" Spooks - "Things I've Seen"

CD2:

No highlights.

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meowm1x · 3 years

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regarding my tags on that last reblog but seriously what the FUCK was up with that terrible era of 2000′s-2010′s dance music where they would take like. a short sample from a great 80′s track and just ruin it by repeating it over some generic ass beats :/

call on me, superfreak, feel like somebody’s watchin me, just aghghhbghhg god that shit drives me up the wall!!!

#ramblings #i am a huge fan of dance music so that shit is just. ugh #anyways. 90's euro trance and dance is the good shit #and there are some amazing current electro bands out there too!#but that era of mainstream 2000's repeating sample stuff was utter garbage aaa

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riverleyk · 3 years

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Reflections on Nightcore and AMV's:

So my childhood, I listened to a lot of nightcore and I never really understood what genre to classify it as but brrruuuuuuuuhhhhh it's just a mix happy hardcore, core, euro dance and trance. It's from the early 2002s. I don't know how it was distributed back then since YouTube didn't exist back then. It's a genre that has really flourished because of the internet. it's each association with anime, cartoons and gaming has made it really only accessible to young people. It's fast nature and high pitched vocals makes it annoying to most adults over the age of 30 too.

I'm so happy that the legacy of nightcore/happyhardcore is continuing in hyperpop. I personally associate Night core with YouTube, so this music flourishing on tiktok, an app used again by the youths of this generation is just perfect. The Songs are also getting shorter. Where as nightcore was still 2 to 3 minutes long, the 1 to 1:30 minutes of hyper pop emphasis the speed and fleeting/repeatitive nature of the music.

90's Happy hardcore > 00's nightcore > 20's Hyperpop. Did Nightcore die in the 2010's? ...Maybe non since I was listening to it at that time.... but it did die as I got older. I listened to it mostly in-between the ages of 7 and 13. 2007 and 2013. By that time, the videos were a little old too.

I hope that as the years go by, the name solidfies. like theres many many types of genres of rock, but we all call it rock. I think that this music just be a subsection of electronic music tho... Electronic is just the futuristic version of rock music.

Why does vocaloid sound so much like nightcore? or maybe the other way around... Nightcore is basically changing a song so that it sounds like a cute anime girl is singing it.

Fast songs make me wanna dance :)

Edits is what the kids today call AMVs. The AMVs made by the youths today are more trippy, colorful and less about the lyrics. The characters aren't made to try and look like they're talking/singing. The visuals dont align with what's being said on screen. Instead, edits are made like a fan cam of that character. images and clips are switched out together, based on rhythm. Only using clips from the song, not the full thing. Made to be easily shared on insta or tiktok. Easily looped. examples: A classic AMV from the time period. https://www.youtube.com/watch?v=kuRUMV2RL_A&t=132s Edit made for instagram: https://www.youtube.com/watch?v=wUcZU6mmdgM

The reasons why the names for these genres change is because the internet is young and these phenomenons havent let replicated themselves more than twice. This is a new, technologically advanced way for a child to play, by making and watching these kids of media (nightcore and Amv). The adults grew up and stopped making these/didnt tell the younger gen about this. So as these babies grew up. they rediscovered this type of videos and music, and they created their own versions of it, and gave it another name. I firmly believe these genres are linked to internet childhood/growing up with anime and cartoons of the era. I'm sure gen alpha will have its own crazy twist on this genre. I Hope to watch it develop as I age too.

Please credit me if you use this post for a video or something. I'm fairly sure that soon, others will realize I'm right about this and that this might be ahead of it's time... or maybe I'm just crazy? Eh.

#nightcore #hyperpop #happy hardcore #anime #anime girl #vocaloid #music #amv #mv #edits #gen z #tiktok #youtube

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tygerseye · 5 years

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T Minus 7 Days!

ONE WEEK LEFT! T minus 3 till my house party >_>

Today I bring to you Move your Dead Bones!

youtube

C’mon, reanimate your feet!

Ok I love this for so many reasons. was made for Beyond Reanimator which I haven’t seen and I need too lol. That movie is the sequel to Doctor Reanimator which is a great 1985 science-fiction horror movie base off H.P. Lovecraft’s story Herbert West - Reanimator. It’s the kind of movie that whether you’re a fan of the older science fiction b-movies or if you like dark comedy you can enjoy it :)

Back to the song.

This harkens back to the fun days of indie underground Euro trance. It’s the kind of song that you listened to as a teenager in the late 90s early 2000′s and probably loved in secret. This upbeat tune will definitely reanimate your feet.

Second, I really feel like they didn’t tell Dr. Re-Animator (the musical artist) what the movies were about. They were like “Ok, it’s just about some dude that brings corpses back to life... go with that” then they added some clips to the music video mixed in with footage of the (actual?) musical artist and BAM, we got a hit on our hands (lol..).

Last, I actually found this song through a video which was made by a very popular flash animator, Zarla. The furry community jumped all over this artist because of her character Zar but Zarla is actually not a furry and never really considered herself one :D

But, I am glad the community jumped on this video because it exposed me to some awesome stuff. Here is the link to Zarla’s version which features her character Zar and a WHOLE CAST of video game characters which is what her animations were renowned for :D

It’s awesome, go watch :3

That’s it for today folks! Keep bein spooky :3

#Doctor #Reanimator #Dr. Reanimator #Re-Animator #Zarla #Furries #Eurotrance #Dance #Halloween #Spooky #Horror #Science Fiction #Sci-Fi #Music #Music Video #Trance #Spoopy

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davebuckleslefthand · 3 years

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X’s for Eyes

55 people like this Page created - October 12, 2011

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8 X’s for Eyes - Big Fat Zero - Big Fat Zero 1992 9 X’s for Eyes - Bombadier - You Never Take Me Dancing 1991 10 X’s for Eyes - Break Song - Big Fat Zero 1992 11 X’s for Eyes - Choketone - You Never Take Me Dancing 1991 12 X’s for Eyes - Church And State - Big Fat Zero 1992 13 X’s for Eyes - For What It’s Worth - Big Fat Zero 1992 14 X’s for Eyes - Imposter - You Never Take Me Dancing 1991 15 X’s for Eyes - John's Really Smelly Song - Big Fat Zero 1992 16 X’s for Eyes - Mr FAT cat - You Never Take Me Dancing 1991 17 X’s for Eyes - Pitch White - You Never Take Me Dancing 1991 18 X’s For Eyes - Queen Bee - You Never Take Me Dancing 1991 19 X’s for Eyes - Religious Experience - You Never Take Me 1991 20 X’s for Eyes - Rhythm Trance -You Never Take Me Dancing 1991 21 X’s for Eyes - Rootska - You Never Take Me Dancing 1991 (our gato ‘90-92) 22 X’s for Eyes - Shiny Penny - Big Fat Zero 1992 23 X’s for Eyes - Stickup Artist - You Never Take Me Dancing 1991 24 X’s for Eyes - These Sorrows Wont Drown - Big Fat Zero 1992 25 X’s for Eyes - Treasure Chest - 1992

1 X’s for Eyes - Undermine Big Fat Zero1992 2 X’s for Eyes - Valley Before The Mount - Big Fat Zero1992 3 X’s for Eyes - X's for Eyes!See All

X’s for Eyes

October 9, 2014

X’s for Eyes

BY THE TIME 1992 RLLED BSIDE US, WE WERE SET ON DIFFERENT PATHS; but thanks to Lee Davila REMEMBERING:

October 9, 2014

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X’s for Eyes

October 3, 2014

undersrtand people: i felt it is was the best thing to do, waya

part from becoming a Marine, to “get the word out; to exorcize

such stuff at my destined position. doubt i created any homepage’s attracted a large "fanbase"which had bee n the intent; since creating this conglomeration of talent (musical) in 1990-1 (i just can’t recall) which was my 1985-1989 trumpet instucter’s alma-mater, and things did a working out to provide this 24 year old intent. As teenager; wasn' t very happy about the way things were headed political wise, bu had no voice to express my views. Then the IUMA: Int3rnetUndergroundMusicArchive arrived in my life. Todd Rundgren

just might have a thin sort of memory, database, spread thingy where 26 years old mind and idea did emote "only from the mind of Dave’s shouts with an initial ability: OUR www Thought to myself: “Well… i had this idea my junior year to create a magazine, or "zine”... much like my friend Dean and Joe from their music act, THE DEAD MILKMEN. Who were at PowerToolsLive off of Buffolo Bayou, downtown Houston.

So, the hope to "make a band” in SHSU as to make my 1989 hope of being on a stage... just like them; at the very stage as a matter of fact, so it was: only on the direct opposite half of PTL and that was a neat thing, by age 21, to actually do something like that. BUT as the years came and went the 'business’ side of “being in a band” had a bad taste; to me. Feeling blessed to direct you all to where my ideas about music did form from: THE POINTER SISTERS Ruth -Venice, THE DEAD KENNEDYS, THE DEAD MILKMEN, MAYNARD FERGSON, THE THE, THE GO-GO’s, SPRAWL, THE BANGLES, CAMPER VAN BEETHOVEN- CRACKER, HERB ALPERT, CHUCK MAGIONE, A 1995-7 WEB-CONTACT, TODD RUNDGREN.

NEVER MAD, MAYBE WE DID TRY TO

EVER MAKE GET MONEY OFF MUSIC.

THEY’RE MIGHT BE A BOOK IN THIS;

MIGHT REQUIRE THAT MUCH SPACE

TO GET THE GIST.

THERE’S NO MONEY IN MUSIC, UNLESS

YOU SELL YOUR SOUL TO IT. GET A GRIP

ON THAT TRUTH. Barring talent that jumped

onto COMMERCIAL radio pre 90′s...

laterX’s for Eyes see; i told you, Tiffany, you’d brush it off…

X’s for Eyes

October 2, 2014

Martial LAW ??? LOGISTICALLY IMPOSSIBLE..

there are not enough troops in the USA to implement

Martial law all over AMERICA.

June 30, 2013 at 4:06am

EVEN IF THE RUSSIANS AND THE CHINESE AND THE

WHOLE UN MILITARY FORCE SHOWED UP!!

So many of you have been fed disinformation that the cabal

are waiting for us to act so they can declare Martial Law. This

then becomes the reason you use to permit ourselves to be in

bondage now. Its like a slave who says “ I cannot rise …

X’s for Eyes what does this tell U.S.A.?

X’s for Eyes

September 30, 2014

frogboyworld sold out, yo no se’ attempting, with my pal, JohnB being fine replacement for my non-useful right hand present.

dig - WELL… let us say dug.

#bobskaradio #https://wordpress.com/page/onlizinenet.pictures/1865

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t-equals-e-blog · 4 years

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EURO BEAT & DDR!! Let chitchat about the music. When I think eurobeat I always think intial D. It's the reason I dig it so much. Most of the songs on the list I'm familiar with. There exactly 2 song that are new to me and they are "deja vu 2019" by #daverodgers and "I won't fall apart-eurobeat version" by #jager . Fun male sung tracks, though I usually listen to more female voice for eurobeat (and specific voice like pizza girl or #leslieparrish ). DDR is more about the early rave, edm and trance music. There some DDR MAX 2 songs like butterfly, cartoon heroes, shivers ; but no one can take the place of Captain Jack #ripcaptainjack . 90's arcade life, thanks for the memories. Enjoy. https://www.instagram.com/p/B_gXi7MgZJR/?igshid=e8sv5wwvj22i

#daverodgers #jager #leslieparrish #ripcaptainjack

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coldlipsmag · 6 years

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PHONELESS IN BERLIN

Words: Kirsty Allison

All photographs by Martyn Goodacre, except images of Danielle De Picciotto’s art, and Alexander Hacke’s studio…and the portrait of Morgan, by Kirsty.

Clouds’ shadows camouflage the sea. Sardine boats dodge the lifeboat wind farms. I jet-trash over last night’s cab, and the phone left on the back seat.

SCHONEFIELD AIRPORT

“Yes,” with an ‘of course’-face, “It has all the streets on it.” The tourist board office give me a map with the VisitBerlin travel card – 41E for 6 days, generous. I like free travel, and I like maps. Not Maps that rhyme with apps. I see the island of West Berlin – I put all the streets in my long black woollen notebook pocket.

U-BAHN/S-BAHN

Map in a glass cage – no index – I’ll take a photo – look at it when I’m moving – I can’t take a photo. My cogs shift from the cybernet dimension.

Alone. Letting go of my infatuation with being monitored, I feel an analogue glitch, a slip of fortune as I enter the low-rise city, uninterrupted with pings.

A watch. I could buy a watch – to tell the time.

I could walk rather than do the connection.

THE HORRORS / Synästhesie Festival / Volksbühne

“The people putting this festival together told me this granite floor was from Hitler’s Bunker,” says Anton Newcombe of the Brian Jonestown Massacre and A Records, DJing in the green room, two floors of sweeping staircases up in the People’s Theatre of Mitte’s Rosa-Luxemburg Platz – once the centre of East Berlin’s GDR.

“Do you believe them?” I ask, of the 8MM Bar promoters who put the festival together. We consider the plausibility, the Nazi star, in dirty creams and blood reds.

Mark Reeder later confirms it to be from the Nazi Vice Chancellor office. And of the cenotaphs stashed beneath the KuDamm – the Nazi spikes. Close enough. Anton is a hero – DIG! the film he stars in aside spars, The Dandy Warhols – an essential on the rock n roll rites-of-passage Reading List. Between his selection of classic psychedelia: “I was born in 1967, in California, of course I’m psychedelic”, with highlights such as Fabio Viscollios 7”, he sets the record straight on all kindsa connections that zip around my references of the night – the stars that guide us, the magnets who form us.

Arrival in Neukölln

So 90s, no blue arrow locator. Without the digital psychographic veils of my screen, the meaning of wrong direction changes – I love to travel, to feel on top of the globe, wherever you walk, with only the weight of the identifiers you carry.

Natural order leads me to Stroke Order – my faux-god-sista, of the Sacred Sound Club – her haus is pink. Y3 shoes, high ceilings, dribble shower, CK mirror. She’s a costume designer for films, but has been hiding out here for a year. Making minimal techno – using autonomous sensory meridian response samples – sounds that turn us on.

Our mothers are pretend godmothers to me and her. She grew up in Vancouver. Dad is a motorcycle racer and ballet dancer in Japan.

Synästhesie Festival / Volksbühne

CAMERA take to the main stage of seated theatre hall. Brutalist fractal collage films of matrix shifting cities, juddering with intent. Projections of you watching me watching you – perhaps being shot live in the auditorium – full scope. Beaming around the physical force of a standing drummer triballing out for a 20 minute set on a bass drum, snare and cymbal. The centre-piece. Astral simulacrum to The Egg who I played with earlier this year. The standing drummer keels in sweat, throws a death white sheet over the drums as though he has beaten them dead, only to dampen their noise, and continue hitting and hitting. Keys, 2 x guitar, sitar bass, different genereration radical on sax – elf dancing.

I’m reminded of the need for parameters – the ones we invent to live inside. The significance of numbers plays on the screens – another hallucination. A replacement for seeing everything through snapshot Insagram lens. Abandoning our digital religion – is so FKK (freikörperkultur – the GDR East Berliners act of rebellion was to strip on Sundays around the lakes – to rip off the communist soaked nylons of identikit clothing*). So naked.

TANGERINE DREAM

A violinist in black – modular synth Memotron on one side – a bank of other buttons on the other side. One life. One nerve shatters and then rest follow. First they twitch, and glitch the matrix…

I catch a bit of THE PINS – all girls – superhot, riot grrrrl electronica.

THE HORRORS

Violent Lenin Uber Alles track shatters across the increased scale of the stage for this headline performance – punk anger of East Berlin, red deco chandeliers of alles Ku-damm Cabaret glory. Waiting for Faris Badwan, the singer who I first interviewed for Dazed and Confused, making a film about his illustration – and exhibition, I wonder about the symbolism of genre/sound/music/art as signs of the times – about resonance – of what we are creating and producing – of X Factor sounds as the capitalist panacea – of our art resonating our environment – or us gravitating towards it. Stroke Order making techno in Berlin.

The futurism of white noise perfection – the dystopian values, four albums in from when I first met Faris – he was maybe 23 then. Unsure if he was going to carry on at St Martins art school. By the time I interviewed him again for Vogue, he was not going back.

And here, seated in the very front row – I witness the evocation of destiny – he’s become less of the shy frontman, but someone who is commanding the respect of the universe – he violently whips the mic lead – he hails the pulses of front row screamers, bonding their necks with rubber wire – he in black PVC – guitarist in red lipstick – beautiful rockstar boys. Lyrics are lost in the Elritch reverb – Faris is crown stealing. Volatile black energy of goth industrial – contemporised by Tom Furse – and his techno pyramid synths. Ice sweat dripping Hackney vampire bassist Rhys Webb. Faris has become storming iconic balearic, striding over theatre seats, in smart city shoes. It’s cosmic goth, it is power – it is owning the depth of Poe hell to Blakean heavens. From voyeurs to submission, the audience leave satisfied.

WEDDING/NW multi-cultural reaches of the city.

Fire station studio. Danielle De Picciotto walks us across a courtyard in twilight. Pyramid of flowers, split by stairs to a below-sea-level, waiting buddha, draped with beads. Left and right basement of Californian security doors, co-joined studios, His and Hers. Drums on the male side, Alexander Hacke, Einsturzende Neubatten – poles of metal to hit. Next door: paintings of black and white folklore S+M dolls with tripped out wings, and photograph reflections. Hers. With tea. Laughter. Discussion. Love. She is love.

***

Lost – ghetto kid guides me and Stroke Order to the ambient dinner in a bar beneath a block in Wedding: soundproof triangles of three-tone pastel shaved hardwood. Clean vegetables, and a series of performances from three post-Akai-ists. Poetry, soundscapes layering paranoic schizophrenic voices – a DJ girl in from Seattle. The residents, ex-pats, from across Germany, and the world – carrying less ego than London. A wholesome intellect carries through, it gets lost in the whirl of London survival. I think back to hanging with the man commonly known as Rodent, the Sex Pistols’ sound tech – he was saying everything is lost in our digital times – the lack of ability to hang out together, they had to live frugally, himself in the studio of The Clash. The intensity of art. It’s easier here. To get involved in your creativity – away from the grab.

SUNDAY

Home jukebox, coffee, and Okay Cafe cinnamon swirls at Jason McGlade and Anne-Cathrin Saure’s (the art director/photographer, and designer of Cold Lips II, and co-createurs of the Shedville font). They moved back here recently – but Jason’s back and forth to London, working on an incredible analogue Polaroid project.

Stroke Order and I head out to Berghain – but instead collide with a very old friend who’s been living in Thailand for 14 years – Martyn Goodacre. He took the most iconic picture of Kurt Cobain, and many more. We tried doing music together when we worked on magazines. We go to a bar, meet with a midwife – talk about the horror show of birth, the guidance into the world, policed by the womb and the channel to birth and the rejection from the vulvic eye. The propulsion.

MONDAY MORNING COMING DOWN FROM AN EMAIL THAT IS CHANGING MY LIFE

Space, China – coffee with Mark Reeder. His vinyl of Mauderstadt is out now. I’ve just run a trilogy of stories on him in DJ Mag, explaining his part in Berlin, from being the Factory rep in Berlin in Joy Division days, through to putting on punk gigs in East Berlin, recording the music in gay bars to play to New Order – thus Blue Monday – and since, from inventing trance music with his label MfS – getting Paul van Dyk on the map – he’s the man. His uniforms. Rare light.

“Danielle [De Picciotto] and Katia – Love Parade would never have started without them.”

[Love Parade was the street party that began in the ecstatic reunification of East and West Berlin. The wall came down in 1990. The old GDR was a wild land. Read Danielle De Picciotto’s Beauty of Transgression for more…or watch Mark Reeder’s B-Movie…and his forthcoming E-Movie.]

He realises he’s late for his lunch…

Alone, back on the Neukölln streets, I look into the door of a Moroccan cafe – get called in by a round-faced Muslim woman, grey jumper, jeans – trainers – Tangiers market vibes, enter – beans – good – no English – point at a box – I don’t know if she knows I don’t want a tagine but takeaway – they waterfall me mint tea – the door slams shut. There are stickers on the wall tiles – plastic table cloths. Am I about to be drugged? Locked in – I have few Euros and no phone to be stolen.

I sit, read the Unspoken Berlin I’ve picked up – and wait for either the drugs to kick in, or to relax. Oh, some brot on the table – no it ain’t Gucci Bloom sea hedgehog fennel and jerusalem artichoke, chestnut puree and scallop, purple watercress like the exquisite experience of Lokal where local ingredients will dance on plates for us later – nor is is it as refined as the Techno sauna we’ll meditate in around the bar – but it is E2.50 and beautifully wholesome – the chickpeas are larger than London.

—-

Neurotitan have taken Cold Lips and my last 3 copies of Unedited. Stefi there is lovely. It’s somewhere that’s always called me on previous trips to Berlin. Many putting a film together that became impossible, about Manuel Gottching, of Ash Ra Tempel – and E2:E4 – the most sampled record – inventor of ambient – before Eno, before the HANSA recordings of Iggy and Bowie. I tell Stefi of my gig last night with Whisky and Words at the Keith bar – where Stroke Order – her pals – and Jason McGlade come by – and Mark Reeder. And Rasp Thorne [post coming to Cold Lips soon, or buy the second edition for total spread]- the consumate performer – lighter over here – my lips are still red from the wine. Stephen Crane. Rasp’s performance of Crane. He’s so good.

Everytime I get on a train here the stasi black jacket ticket checkers are on the same carriage. It’s happened to Morgan 3 times in her year here – and 3 times with me in as many days. I am able to fight my usual paranoias from the top of my Maslow pyramid – the email from a publisher – saying he wants to publish my novel – the one I have had two agents hawk around in 11 years – during which time, I have changed, and so has the story. It is the best email I’ve ever had. Here, lying in bed on the Monday morning after meeting with Anton Newcombe and front row for Faris – Faris frow.Two days later, I’m still flying, as I hit EchoBucher, back in Wedding – they’re taking some Cold Lips…I drop into Potsdamer – meeting… No fucking way. Ticket checkers.

Zug Fallt aus!

You have amazing eyes – you look like Madonna said the guy from Milano – I’m hoping he means old skool hot Madz. En route to the airport – delays – nerves shot / triggering towards Parkinsons and spiked dreams. He calmed me – so did the guy who was also travelling to Stansted – as we ran for the plane, and vice versa. Detoxed from the phone, train home, to the temple – travelling with Alice A Bailey. Nanobotic karmic overide. More ticket inspectors – haunted by the stasi – on plane now – could do with some extra O2 from the overhead locker after running in a coat I just bought which I think I may be allergic to. But it’s so warm.

*German born LA-resident, Benedikt Taschen, the art collector and publisher, has directed the content of the new EAST GERMAN HANDBOOK. An encyclopedic collab with Wende Museum, a place of Cold War artefacts in Culver City. It’s a compendium of communist porn – picture-led, masonically-charged graphics of the whole nine yards of life behind the wall – from ideal weaponary to food, fags, appalling vodka, and the requisite communist shit shoes. It’s got 50s utopian vision written all over it.

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gozel · 4 years

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White Power Music – Scenes of Extreme Right Cultural Resistance

https://datacide-magazine.com/white-power-music-scenes-of-extreme-right-cultural-resistance-book-review/

Anton Shekhovtsov, Paul Jackson (Eds): White Power Music – Scenes of Extreme Right Cultural Resistance.Mapping the Far-Right, Volume 2, Searchlight Magazine/Radicalism and New Media Research Group, August 2012.

This volume shines a spotlight on various far right musical scenes all over Europe. The first part of the book is made up of country-specific looks at the scenes in Germany, France, Sweden, Greece, Hungary and Romania, and the Czech Republic. The second part consists of three articles: one about the memory of Ian Stuart Donaldson, one about women in White Power music, and one about „White Power music and censorship in the Information Age“.

The articles differ a great deal in how they approach the issues. The article about the German „Rechtsrock“ scene limits itself largely to that particular brand of white power rock, and is basing itself to a considerable degree on the reports of the Federal Office for the Protection of the Constitution (Bundesamt für Verfassungsschutz, BfV). These should be taken with a grain of salt as we have seen in the context of the murders of the National Socialist Underground. The author is staying close to the music associated with traditional neo-Nazism (NPD and DVU parties) and doesn’t investigate the more transversal forms of far-right subcultures. Nevertheless it can serve as an introduction to a particular field of German far-right music to a reader unfamiliar with the topic.

The second article is concerned with France, starting off with the phenomenon of „rock identitaire“, and the involvment of protagonist Fabrice Robert in various national-revolutionary and national-Bolshevik sects until his recent activities as a leader of Bloc Identitaire. The article traces the nationalist rock back to the 70’s and the influence of the Italian Janus group up to the present via skinhead hate rock and NSBM, expanding the spectrum into far right techno since the 90’s. Interesting to note here is the reference to the fanzine Lutte du Peuple, which according to the article was „concerned with the political potential of the Techno movement, the focus at that stage was not on the connection between music and politics, but rather on politics and a wider Weltanschauung“. While Datacide would be interested in more details of that strategy (I couldn’t find very much further information on Lutte du Peuple for example), it appears that the neo-fascist push into techno was not very successful. Neither were attempts to cash in on the rising anti-Globalisation movement. One example is the compilation CD „Anti-Mondial“ from 2001. This CD features „16 groupes en rage contre la mondialisation“ and was sold for just 2 euro. Although this might have found some buyers at the time, but apparently didn’t find many keepers, since only one single person has it in their discogs collection 12 years on.

The focus of the French extreme right music scene seems to have shifted in the mid-90’s from traditional RAC („Rock Against Communism“, i.e. standard Skrewdriver type skinhead/oi!-rock with Nazi lyrics) to a more refined strategy, much in the same way that the New Right in general revised their strategies in that period (see http://datacide-magazine.com/metapolitical-strategies-of-the-nouvelle-droite/ ). A „Europe of 100 flags“ rather than the „nation“, a focus on „Anti-Zionism“ rather than open anti-Semitism, mixed with holocaust denial and a rabid anti-Americanism. Added to the pantheon of idols were certain figures traditionally associated with the left, such as Che Guevara and Subcommandante Marcos, who were put alongside national revolutionary idols Strasser brothers and Ernst Jünger (see http://datacide-magazine.com/ernst-junger’s-“waldgang”/ ).

Perhaps unsurprisingly, Robert was a member of the notorious organisation Troisième Voie in its first incarnation (1985-92). This group was re-founded by Serge Ayoub in 2010, returning to its violent roots and later, in 2013, was dissolved to pre-empt a state ban spurred on by the murder of an anti-fascist by one of its members.

The following article about white power music in Sweden focuses more on the economic aspects than the other articles in the book while also giving an overview of the movement’s history. It is interesting to see here that WP music has also suffered from the trend towards downloads. On the one hand, merchandise is still sold by specialised mail order companies (often tied to political parties), and on the other hand concerts and events are still taking place.

In Greece, the topic of the following article, the neo-Nazi music scene is, unsurprisingly, profiting from the success of the Golden Dawn party. The article gives a good overview of the history of the skinhead scene since 1979 up to its present blossoming.

Equally unsurprising is that there is a somewhat thriving scene in Hungary, considering the huge success of the far and extreme right in this country. There, Antiziganism and homophobia abound as well as anti-Romanian or anti-Slovak slogans. It is not completely clear why the same chapter is covering both Hungary and Romania, when in Romania the scene seems barely existant.

The final article in the country-themed first section of the book gives an overview of the scene in the Czech Republic. Besides Oi! and NSBM there is also some emphasis given to Hard Bass. Hard Bass has musically not developed far from Hard Style, a mix of Trance and Gabber, and also draws many of its followers from a similar stratum of football hooligans. But it stands out with its activist use of street interventions, where masked people show up with, for example, anti-multicultural messages, often linked to „identitarian“ groups. Currently mostly active in Eastern Europe, but also in Austria, this phenomenon is something to keep an eye out for.

The second part of the book starts with an article by Paul Jackson on the cult around Ian Stuart Donaldson, who was the frontman of the seminal Nazi-Skinhead band Skrewdriver. After his death in a car accident in 1993 he was made into a martyr by his followers. Skrewdriver had their first record out on Chiswick, a pub-rock/early punk label in 1977 and broke up a year or two later due to lack of success. Ian Stuart re-formed the band, but after another unsuccessful record disbanded it again. As Stewart Home writes: „Stuart had never intended to take a political stand, he’d just wanted a career in the music industry, it took him five years to realise he was a talentless hack who might as well exploit the shock value of musical fascism. Like most bigots, Stuart’s political views were always completely incoherent, as we shall see.“ Indeed, deep statements from him include: „Whatever the vermin does, we’ll be there with a pint and a stiff right arm!“ Having found a home on the National Front’s White Noise record label, they released the single „White Power“. From that point onwards they became the quintessential neo-Nazi skinhead band. Soon enough they fell out with the „White Noise Club,“ which was run by Patrick Harrington, who was then – and now – a buddy of Nick Griffin. Harrington was accused of mishandling funds owed to Skrewdriver. The result was that Stuart founded the Blood and Honour nextwork and embraced the more extreme British Movement and later Combat 18 to the right of the NF so to speak. This became linked more and more with the paranoid idea of a „ZOG“ („Zionist Occupational Government“) which was running things behind the scenes and which (of course!) eventually assassinated Stuart. For a more detailed history of Skrewdriver consult: http://www.stewarthomesociety.org/cranked/skrew.htm

The second to last chapter in the book covers the (rather marginal) role of women in the WP movement, concentrating mainly on the cases of three more or less prominent examples: Tara, Saga, and Prussian Blue. It concludes that „Women are increasingly being used to provide a note of reassurance in an extreme right that remains as aggressive and as hyper-masculine as ever,“ and to „put an appealing face on an ugly ideology.“

The final paper discusses attempts at banning WP events or bands with hate speech legislation or other means. The bands are of course construing themselves as the victims of a left-wing/Jewish mainstream, even going so far as to insinuate that new concentration camps are being prepared for ‘patriots’. This is just another illustration of the tendency of the far right to „explain“ the failure of its culture and politics with an evil conspiracy. One result of using hate speech legislation against WP music is that there is increased „cloaking“ of the messages, a strategy that is already widely used in the more transversal approaches of Neofolk and Martial Industrial. The author is right to stress that much more wide-ranging strategies are necessary to fight neo-Fascism, anti-Semitism and racism in culture.

This 130 page collection of articles brings together some interesting research and information. It is far from comprehensive, however, and will hopefully mark a step towards a more complete overview of the European White Power music movement with a more unified approach.

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diamond-empress · 7 years

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01. Make it! (90's pop techno Remix) 02. Pretty Prism Paradise (Y&Co. d'n'b Remix) 03. Konoutatomareihi (new electro remix) 04. No dnd Code (Y&co. Hard dance remix) 05. Marble make it a-ha-ha! (Hyper techno remix) 06. Taiyo flare sherbet (super euro mix) 07. CHANGE MY WORLD (Blacklolita Future Bass remix) 08. Love week old (Y&co r&b remix) 09. Papipupe police (80's style remix) 10. Tondemo Summer adventure (extra drop mix) 11. Reversible ring (happy trance remix) 12. Pure amour love (y&co eurobeat remix) 13. Love friend style (dj shinamura's hardcore rave remix) Those are the songs on the new Cd😆😆😆😆

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randomvarious · 3 years

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Today’s compilation:

Dream Dance, Vol. 10 1998 Trance / Euro Trance / Euro House / House

Comps like this one are really why I ultimately decided to start this blog. There's just something that feels so pure to me about an album whose sole purpose was to document a scene or sound at a present point in time and was made with a certain foreknowledge that it was never going to be revisited again after a few months because of the intertwining pair of facts that time terminally marches on and there's always something newer to chew on and digest.

And comps of this more contemporaneous nature, rather than, say, a retrospective or greatest hits kind of thing, I think, provide the most accurate portrayal of the history of contemporary music. These cheap, throwaway, ephemeral compilations are actually priceless artifacts in my eyes. History lessons only tend to teach in the broadest of strokes and it's the same idea with music: there's just so goddamn much of it that when we boil it down or try to simplify it into a mere list of universally accepted stone-cold classics, à la the classic rock radio format, we are effectively consigning the rest of it to the trash bin of...well...history. And you'll only learn about those either rightfully or unrightfully discarded tunes if you gain access to the primary sources that hosted them, which comps like Dream Dance, Vol. 10 do. And let me tell you, some of these long-forgotten stragglers happen to be pure fucking fire and deserve to be known and remembered, which by and large, they're simply not.

This comp feels like what you'd probably hear in Germany if you just, one day, decided to turn on one of the country's dance stations in 1998. Just, like, two and a half hours-plus of recorded radio. No curation by the compilers; just a complete reproduction of what was playing then.

Of course, that's not exactly what this is. There were more Euro trance and Euro house tunes out in the collective ether in 1998 Germany than could possibly fit on two discs. But this really feels as close as we can get given that constraint. And in 2021, Dream Dance, Vol. 10 feels like as close as we can get, from a musical standpoint at least, to hopping in a time machine in order to literally relive a certain section of the past.

You'll find some of those unforgotten stone-cold classics on here, like ATB's "9 PM" and Paul van Dyk's "For an Angel," but you know what tune out of this full crop really got me? The fucking Vengaboys remix of "Contact" by Brooklyn Bounce. That's right, the goddamn Six Flags band. They absolutely killed it on this one. I was fully expecting a huge block of eyeroll-inducing cheese, given the inescapable (but still fun) schlock that the group's been known to put out, but instead I got a delicious link of juicy bratwurst and a shot of Jägermeister. Now that's what I'm talking about!

Highlights:

CD1:

Niels van Gogh - "Pulvertrum (radio edit)" DJ Sakin & Friends - "Protect Your Mind (instrumental version)" ATB - "9 PM (Till I Come) (radio edit)" Paul van Dyk - "For an Angel" Mark van Dale with Enrico - "Power Woman (Dub Foundation radio mix)" Joe T. Vannelli presents Csilla - "Play With the Voice (Stereo & Monello's radio edit)" Resistance D - "Human '98 (Talla 2XLC radio video mix)" Billy Hendrix - "Body Shine (short mix)" Carlos - "Rush Me (radio edit)" Red Light District - "Did You Hear Me? (Phase II mix)" Sean Dexter - "Mankind (radio mix)" Fiocco - "The Spirit (vocal radio edit)" Sash! feat Tina Cousins - "Mysterious Times (radio mix)" York feat. Jamila - "Jastamba (instrumental radio mix edit)"

CD2:

DJ Tonka - "She Knows You (radio edit)" DJ Quicksilver - "Timerider (club mix)" Orinoko - "Vila Nova (Oriney Yassaneiy) (club radio mix)" Three Drives - "Greece 2000 (radio edit)" Dolphin's Mind - "Believe in You (The Whistle Song) (Aerospace remix edit)" Sosa - "Accelerator (DJ Taucher remix)" Energy 52 - "Café Del Mar (Nalin & Kane remix)" DJ Visage - "Formula '98 (DJ Beam video mix)" Brooklyn Bounce - "Contact (Vengaboys remix)" C.M. - "Sensation (Marino Stephano radio remix)" Sequential One - "Inspiration Vibes (airplay mix)" Agnelli & Nelson - "El Niño (radio edit)" Plastic Angel - "Simulation (radio version)" DJ Mo vs. Marc de Clarq - "Eternity (For the Radio)"

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earinfluxion · 7 years

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X-Marks the Pedwalk: “Meshwork M.1″ (Meshwork, Zoth Ommog 1995)

X Marks the Pedwalk’s Meshwork is an album I curiously find myself returning to fairly often. Their earliest stuff was very much in the vein of typical Euro EBM of its time, dance music with distorted vocals and an industrial edge, but Meshwork found the duo of Sevren Ni-Arb and Raive Yarx turning down the distortion and turning their ears instead toward mid 90′s trance and the budding futurepop sound to inform their music.

#x-marks the pedwalk #sevren ni-arb #raive yarx #meshwork #zoth ommog #ebm #electronic #dance music #industrial #futurepop

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thesunlounge · 4 years

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Reviews 308: Aki Aki

Last time I checked in with candomblé, it was for the release of LSW’s Life Style West, an album of hardware jams and shadow-pop vocals leaning towards the weirder fringes of krautrock, cyber noir, NDW, and Euro boogie. Most recently, the collective/label dropped 404’s Off Course…a journey through ambient futurisms, chill out psychedelics, and IDM beat designs...which I’ll cover in more detail sometime soon. But before getting to that, I’d like to discuss candomblé’s other record from 2019: Aki Aki’s Dishjockey. Released at the end of the summer, this 12” marks the first solo outing from Phaserboy and camdomblé main man Aki Vierboom and is presented as a two course meal, portions of which were prepared in conjunction with Rasputin, the other half of Phaserboys, and Kaschiel, who contributed a couple of great tracks to the first two candomblé 10”s as well as production work on Life Style West. Across four slabs of drug dance intoxication, Aki and his crew serve up some of their heaviest and most tripped out material yet…these esoteric worlds of profound physical power, wherein psychosonic acid lines slide through neon slime, fever dream mutations surround reversing vocalizations, and rave drum pressure waves pulse into the night. Elsewhere, low-slung hip-hop breaks bounce through clouds of bass music mesmerism, Goan trance electronics lead tribal body rituals, and ethnological dub riddims splatter amidst fourth world soundbaths…all until an epic finale of cyborg prog majesty and mystical desert exotica.

Aki Aki - Dishjockey (candomblé, 2019) Spectral space fx, reversing moans, and cracking claps begin “Müsli Boys,” before Aki drops a stoner zoner body beat, with kick drums stomping and pushing massive columns of air while double-time hats breath fire over swagger snare perfection. Fat bottomed acid lines execute sexual slides, feedback melodies smear into crystal computations, frogsong psychedelics flow into and out of the spectrum, and claps rocket through delirium echoe cascades until the basslines disperse, letting the drums morph into a slow motion stomp, with cymbals spraying golden glitter over electro-clap panoramas. Then, subsonic lasers wash out the drums as the JV 8000 bass juice slips and slides through puddles of galactic grease, with hi-hats ticking nervously amidst disturbing vocal abstractions. And later, we devolve into a stretch of alien breakbeat ambiance wherein cyborg demons chant unknowable spells. “Mailo, Urbanisation du Huan” floats in on industrial bass pulsations, with tom fills and ethnological hand drums clattering through cavernous spaces while starshine tracers intertwine with morse code. A dubbed out bassline washes the mix clean before Aki and chef garde manger Kaschiel drop into a deep drug breakbeat, wherein snares and toms rocket through abstracted echo prisms while tambourines keep time. Acid lines execute insectoid dances, triple-time cymbal rolls bringing a mutant hip-hop touch, and sub-bass textures evoke primate mating calls while electro-marbles roll across the mind. Later, the track devolves into cosmic slop, with phaser orchestrations blowing a cool breeze before transmuting into white light magnificence…a blinding flash that leaves behind a tribal zone out…a world of tubular bass fluids scatting vocal rave magic while drums morph between unsettled patterns and paranoid riddims. Cyborg sequences flow in line with the freakbass wobble as snare and hat patterns cut up the air and eventually, it all gives way to an outro of pounding drum ritualism breaking down in real time amidst oceanic birdsong.

Chaotic synthesis filters amidst bubbling percussion panoramas, tropical idiophonics, and alien loon song…all while a beat slowly climbs through layers of toxic smoke. This is “Opti-Mystik Dub”…a deep dive into future-dub shadowrealm exotica, with throbbing synthbass hypno-riffs snaking through the mix and a background suffused by laser generated monkey calls and whooshing winds of static. Snares blast through puddles of white light, double-time and triple-time hats cycle through leaned out patterns, and virtual hand drum cascades pop across the spectrum while elsewhere, Aki and sous-chef Rasputin melt the mix down into time-shifting free jazz psychedelia. As we chug back into the stoner riddim ceremonial, distorted acid lines squelch over the mix…their sounds evoking the unknowable chants of a frog-spirit mystic. And during a spectacular climax, trance sequences descend from a neon sky…as if Goan energy beams are bathing some secret rainforest ritual. “Kale Selector” opens with angel choirs and kosmische organs pushing the mind towards ecstasy. Cymbals zoom through echo displacements, metallic fluids sequence across the stereo field, and rolling hand percussions sit above bouncing acid bass madness until the starscape energies recede, being replaced by something approximating a bluesy psych beat, with tom fills flailing like a primal machine variant of Michael Shrieve. Then, the rhythms fall apart, leaving behind a world of slip-sliding acid mesmerism, with everything building towards a magnificent release. And indeed, we eventually awaken in a world of prog rock mesmerism, with glowing wavefronts immersing the spirit in esoteric dream atmospheres and Arbabian melodies quivering into orgasm while tribes of exo-planetary forest spirits lock into a shamanic funk stomp. And after a brief detour into body jacking 90s rave magic, Aki subverts expectations by delivering a slow burn fade, teasing out one last magisterial prog climb before giving over to droning organs and rainbow bubble clouds.

(images from my personal copy)

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